Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2536
  -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 {#2383 …}
}

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

App\Twig\Components\ListePanier {#2613
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2616 …}
  -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 {#2615 …}
  -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 {#2383 …}
  -formView: Symfony\Component\Form\FormView {#2652 …}
  -form: Symfony\Component\Form\Form {#2802 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 3002
    -nom: "Tonight At Noon"
    -informationComplementaire: "Une œuvre qui se regarde autant qu’elle s’écoute. Avec "Tonight at Noon", Charles Mingus livre un jazz intense et libre, où chaque note vibre d’émotion et d’audace. Une expérience musicale brute, à la fois puissante et inoubliable."
    -description: """
      Tonight at Noon de Charles Mingus est un album aussi fascinant musicalement que visuellement. Sa pochette, dominée par un portrait expressionniste aux traits éclatés et aux couleurs vives, reflète parfaitement l’univers sonore de Mingus, intense, libre et profondément émotionnel.\r\n
      \r\n
      Sorti en 1964, l’album rassemble des enregistrements issus de différentes sessions, capturant un moment de transition dans le jazz moderne. Entre compositions structurées et élans d’improvisation, Mingus y façonne un langage unique, mêlant énergie brute et sophistication harmonique.\r\n
      \r\n
      À l’image de la peinture qui semble presque en mouvement, la musique de "Tonight at Noon" est vivante, imprévisible, traversée de contrastes. Chaque morceau révèle une tension entre ordre et chaos, signature du génie créatif de Mingus.\r\n
      \r\n
      Tonight at Noon compiles tracks from two earlier recordings sessions: one session from 1957 with Jimmy Knepper on the trombone, the drummer Dannie Richmond, saxophone player Shafi Hadi and the pianist Wade Legge, which were released on the album The Clown (Atlantic 1260). The second session took place in 1961 with Booker Ervin and Roland Kirk on the saxophone, Knepper, the bassist Doug Watkins, Mingus at the piano and Richmond on the drums, and was released on Oh Yeah (Atlantic SD 1377).\r\n
      \r\n
      The two sets differ in mood, but this does not mean that it is an album that uses leftovers. While Mingus in the first session strives for European harmonics and melodic approaches with a hard bop tempo (particularly on the title track) in the direction of the blues, the second session with its vespertine elegance and spatial explorations comes over rather as a sort of exercise à la avant-garde Ellington with sophisticated harmonies that pave the way for sluggish marches and gospel-like blues. Kirk and Ervin complement one another particularly well, their swing is apparently boundless. Mingus's piano playing is deeply rooted in the blues, and his sense of tempo and lightness enhances these numbers, particularly in "'Old' Blues for Walt's Torin".\r\n
      \r\n
      In these compositions one already finds hints of Mingus's later recordings. The most beautiful number is taken from the 1957 session and concludes the album : "Passions of a Woman Loved", almost ten minutes in length, feels like an Ellington suite. Although, or maybe simply because several years passed between the two sessions, one cannot deny this album's magic.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.\r\n
      \r\n
      Recording : March 1957 in mono and November 1961 in stereo in New York City by Tom Dowd and Phil Iehle.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Charlie Mingus (bass, piano), Jimmie Knepper (trombone), Shafi Hadi\t(alto saxophone), Roland Kirk (saxophone), Booker Ervin (tenor saxophone), Wade Legge (piano), Doug Watkins (bass), Dannie Richmond (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: "https://www.youtube.com/watch?v=n4ys-h1d0kY&list=RDn4ys-h1d0kY&start_radio=1"
    -referenceProduit: "Speakers Corner Atlantic SD 1416"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Tonight At Noon"
      ]
      [
        "ordre" => 2
        "nom" => "2. Invisible Lady"
      ]
      [
        "ordre" => 3
        "nom" => "3. Old Blues For Walts Torin"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Peggy's Blue Skylight"
      ]
      [
        "ordre" => 6
        "nom" => "2. Passions Of A Woman Loved"
      ]
    ]
    -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 @1771745318 {#1896
      date: 2026-02-22 07:28:38.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1777062192 {#1889
      date: 2026-04-24 20:23:12.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-tonight-at-noon-speakers-corner-atlantic-sd-1416"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3089
  -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 {#2615 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 3002
    -nom: "Tonight At Noon"
    -informationComplementaire: "Une œuvre qui se regarde autant qu’elle s’écoute. Avec "Tonight at Noon", Charles Mingus livre un jazz intense et libre, où chaque note vibre d’émotion et d’audace. Une expérience musicale brute, à la fois puissante et inoubliable."
    -description: """
      Tonight at Noon de Charles Mingus est un album aussi fascinant musicalement que visuellement. Sa pochette, dominée par un portrait expressionniste aux traits éclatés et aux couleurs vives, reflète parfaitement l’univers sonore de Mingus, intense, libre et profondément émotionnel.\r\n
      \r\n
      Sorti en 1964, l’album rassemble des enregistrements issus de différentes sessions, capturant un moment de transition dans le jazz moderne. Entre compositions structurées et élans d’improvisation, Mingus y façonne un langage unique, mêlant énergie brute et sophistication harmonique.\r\n
      \r\n
      À l’image de la peinture qui semble presque en mouvement, la musique de "Tonight at Noon" est vivante, imprévisible, traversée de contrastes. Chaque morceau révèle une tension entre ordre et chaos, signature du génie créatif de Mingus.\r\n
      \r\n
      Tonight at Noon compiles tracks from two earlier recordings sessions: one session from 1957 with Jimmy Knepper on the trombone, the drummer Dannie Richmond, saxophone player Shafi Hadi and the pianist Wade Legge, which were released on the album The Clown (Atlantic 1260). The second session took place in 1961 with Booker Ervin and Roland Kirk on the saxophone, Knepper, the bassist Doug Watkins, Mingus at the piano and Richmond on the drums, and was released on Oh Yeah (Atlantic SD 1377).\r\n
      \r\n
      The two sets differ in mood, but this does not mean that it is an album that uses leftovers. While Mingus in the first session strives for European harmonics and melodic approaches with a hard bop tempo (particularly on the title track) in the direction of the blues, the second session with its vespertine elegance and spatial explorations comes over rather as a sort of exercise à la avant-garde Ellington with sophisticated harmonies that pave the way for sluggish marches and gospel-like blues. Kirk and Ervin complement one another particularly well, their swing is apparently boundless. Mingus's piano playing is deeply rooted in the blues, and his sense of tempo and lightness enhances these numbers, particularly in "'Old' Blues for Walt's Torin".\r\n
      \r\n
      In these compositions one already finds hints of Mingus's later recordings. The most beautiful number is taken from the 1957 session and concludes the album : "Passions of a Woman Loved", almost ten minutes in length, feels like an Ellington suite. Although, or maybe simply because several years passed between the two sessions, one cannot deny this album's magic.\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head.\r\n
      \r\n
      Recording : March 1957 in mono and November 1961 in stereo in New York City by Tom Dowd and Phil Iehle.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Charlie Mingus (bass, piano), Jimmie Knepper (trombone), Shafi Hadi\t(alto saxophone), Roland Kirk (saxophone), Booker Ervin (tenor saxophone), Wade Legge (piano), Doug Watkins (bass), Dannie Richmond (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: "https://www.youtube.com/watch?v=n4ys-h1d0kY&list=RDn4ys-h1d0kY&start_radio=1"
    -referenceProduit: "Speakers Corner Atlantic SD 1416"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Tonight At Noon"
      ]
      [
        "ordre" => 2
        "nom" => "2. Invisible Lady"
      ]
      [
        "ordre" => 3
        "nom" => "3. Old Blues For Walts Torin"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Peggy's Blue Skylight"
      ]
      [
        "ordre" => 6
        "nom" => "2. Passions Of A Woman Loved"
      ]
    ]
    -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 @1771745318 {#1896
      date: 2026-02-22 07:28:38.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1777062192 {#1889
      date: 2026-04-24 20:23:12.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-tonight-at-noon-speakers-corner-atlantic-sd-1416"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2383 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -id: 1276
    -nom: "Pithecanthropus Erectus"
    -informationComplementaire: ""
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      \r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      \r\n
      - Mingus' breakthrough album as a leader !\r\n
      \r\n
      - 180 gram mono 45 RPM double LP !\r\n
      \r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      \r\n
      - Pressed at Quality Record Pressings !\r\n
      \r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      Pithecanthropus Erectus established Charles Mingus as a composer of boundless imagination and a fresh new voice in jazz that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition.\r\n
      \r\n
      Mingus truly discovered himself after mastering the vocabularies of bop and swing, and with Pithecanthropus Erectus he began seeking new ways to increase the evocative power of the art form and challenge his musicians (who here include altoist Jackie McLean and pianist Mal Waldron) to work outside of convention.\r\n
      \r\n
      Mingus's relationship with Atlantic would yield many of his greatest recordings. Cut in 1956, Pithecanthropus Erectus was his first date for the label, and it provided something of a breakthrough for Mingus in his use of extended compositions : the 10 minute title track, and the lovely "Profile of Jackie", are among the bassist's finest recordings. The band is notable for the inclusion of the under-recorded tenor saxophonist J.R. Monterose.\r\n
      \r\n
      The Penguin Guide to Jazz gives the album a maximum four-star rating and included it in its "core collection" of essential recordings, describing it as "One of the truly great modern jazz albums". In the same review, "the all-in ensemble work" in parts of the first track, "Pithecanthropus Erectus", is described as being "absolutely crucial to the development of free collective improvisation in the following decade".\r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Charlie Mingus (bass), Jackie McLean (alto saxophone), J.R. Monterose (tenor saxophone), Mal Waldron (piano), Willie Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ZB6GkA54n_Q"
    -referenceProduit: "Analogue Productions (Atlantic 75 Series) 059-45"
    -titreMorceau: [
      [
        "nom" => "1. Pithecanthropus Erectus"
        "ordre" => 1
      ]
      [
        "nom" => "1. Profile Of Jackie"
        "ordre" => 5
      ]
      [
        "nom" => "2. A Foggy Day"
        "ordre" => 3
      ]
      [
        "nom" => "2. Love Chant"
        "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 {#2037 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2046 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2039 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2041 …}
    -enregistreLe: DateTime @1517297917 {#2032
      date: 2018-01-30 07:38:37.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1729758233 {#2033
      date: 2024-10-24 08:23:53.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2043 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-pithecanthropus-erectus-analogue-productions-atlantic-75-series-059-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3180
  -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 {#2615 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -id: 1276
    -nom: "Pithecanthropus Erectus"
    -informationComplementaire: ""
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      \r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      \r\n
      - Mingus' breakthrough album as a leader !\r\n
      \r\n
      - 180 gram mono 45 RPM double LP !\r\n
      \r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original master tape !\r\n
      \r\n
      - Pressed at Quality Record Pressings !\r\n
      \r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      Pithecanthropus Erectus established Charles Mingus as a composer of boundless imagination and a fresh new voice in jazz that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition.\r\n
      \r\n
      Mingus truly discovered himself after mastering the vocabularies of bop and swing, and with Pithecanthropus Erectus he began seeking new ways to increase the evocative power of the art form and challenge his musicians (who here include altoist Jackie McLean and pianist Mal Waldron) to work outside of convention.\r\n
      \r\n
      Mingus's relationship with Atlantic would yield many of his greatest recordings. Cut in 1956, Pithecanthropus Erectus was his first date for the label, and it provided something of a breakthrough for Mingus in his use of extended compositions : the 10 minute title track, and the lovely "Profile of Jackie", are among the bassist's finest recordings. The band is notable for the inclusion of the under-recorded tenor saxophonist J.R. Monterose.\r\n
      \r\n
      The Penguin Guide to Jazz gives the album a maximum four-star rating and included it in its "core collection" of essential recordings, describing it as "One of the truly great modern jazz albums". In the same review, "the all-in ensemble work" in parts of the first track, "Pithecanthropus Erectus", is described as being "absolutely crucial to the development of free collective improvisation in the following decade".\r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Charlie Mingus (bass), Jackie McLean (alto saxophone), J.R. Monterose (tenor saxophone), Mal Waldron (piano), Willie Jones (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ZB6GkA54n_Q"
    -referenceProduit: "Analogue Productions (Atlantic 75 Series) 059-45"
    -titreMorceau: [
      [
        "nom" => "1. Pithecanthropus Erectus"
        "ordre" => 1
      ]
      [
        "nom" => "1. Profile Of Jackie"
        "ordre" => 5
      ]
      [
        "nom" => "2. A Foggy Day"
        "ordre" => 3
      ]
      [
        "nom" => "2. Love Chant"
        "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 {#2037 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2046 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2039 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2041 …}
    -enregistreLe: DateTime @1517297917 {#2032
      date: 2018-01-30 07:38:37.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1729758233 {#2033
      date: 2024-10-24 08:23:53.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2043 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-pithecanthropus-erectus-analogue-productions-atlantic-75-series-059-45"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2383 …}
}

[
  "produit" => App\Entity\Produit {#2051
    -id: 2556
    -nom: "Oh Yeah"
    -informationComplementaire: ""
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      \r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      \r\n
      - A powerful, passionate and expressive album !\r\n
      \r\n
      - 180 gram 45 RPM double LP !\r\n
      \r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original analog master tape !\r\n
      \r\n
      - Pressed at Quality Record Pressings !\r\n
      \r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      After several sessions with Columbia and Candid, Charles Mingus briefly returned to Atlantic and cut the freewheeling Oh Yeah, which AllMusic says has to rank as the wildest of all his classic albums. Mingus displays all of his vigorous jazz feeling on this album; he plays no bass whatsoever, hiring Doug Watkins to fill in while he accompanies the group on piano and contributes bluesy vocals to several tracks (while shouting encouragement on nearly all of them).\r\n
      \r\n
      One of the really fine things about Mingus is that he always seems to keep an earthy touch no matter how wild the harmonies get, and that genius comes across with power here. Some of the colorful titles are "Devil Woman", "Eat That Chicken", and "Hog Callin' Blues".\r\n
      \r\n
      Mingus' vocal selections radiate the same dementia, whether it's the stream-of-consciousness blues couplets on "Devil Woman", the dark-humored modern-day spiritual "Oh Lord Don't Let Them Drop That Atomic Bomb on Me", or the dadaist stride piano bounce of "Eat That Chicken", a nod to Fats Waller's comic novelties.\r\n
      \r\n
      Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket with film lamination by Stought
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Charles Mingus (piano, vocals), Booker Ervin (tenor saxophone), Roland Kirk (flute, tenor saxophone, siren, manzello, stritch) Jimmy Knepper (trombone), Doug Watkins (bass), Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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      [
        "nom" => "Side D : "
        "ordre" => 8
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    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2037 …}
    -style: App\Entity\Style {#1468 …}
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    -modifierLe: DateTime @1727122440 {#2049
      date: 2024-09-23 20:14:00.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3228
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2615 …}
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  +produit: App\Entity\Produit {#2051
    -id: 2556
    -nom: "Oh Yeah"
    -informationComplementaire: ""
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      \r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      \r\n
      - A powerful, passionate and expressive album !\r\n
      \r\n
      - 180 gram 45 RPM double LP !\r\n
      \r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original analog master tape !\r\n
      \r\n
      - Pressed at Quality Record Pressings !\r\n
      \r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      After several sessions with Columbia and Candid, Charles Mingus briefly returned to Atlantic and cut the freewheeling Oh Yeah, which AllMusic says has to rank as the wildest of all his classic albums. Mingus displays all of his vigorous jazz feeling on this album; he plays no bass whatsoever, hiring Doug Watkins to fill in while he accompanies the group on piano and contributes bluesy vocals to several tracks (while shouting encouragement on nearly all of them).\r\n
      \r\n
      One of the really fine things about Mingus is that he always seems to keep an earthy touch no matter how wild the harmonies get, and that genius comes across with power here. Some of the colorful titles are "Devil Woman", "Eat That Chicken", and "Hog Callin' Blues".\r\n
      \r\n
      Mingus' vocal selections radiate the same dementia, whether it's the stream-of-consciousness blues couplets on "Devil Woman", the dark-humored modern-day spiritual "Oh Lord Don't Let Them Drop That Atomic Bomb on Me", or the dadaist stride piano bounce of "Eat That Chicken", a nod to Fats Waller's comic novelties.\r\n
      \r\n
      Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket with film lamination by Stought
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Charles Mingus (piano, vocals), Booker Ervin (tenor saxophone), Roland Kirk (flute, tenor saxophone, siren, manzello, stritch) Jimmy Knepper (trombone), Doug Watkins (bass), Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -artiste: App\Entity\Artiste {#1063 …}
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[
  "produit" => App\Entity\Produit {#2064
    -id: 2468
    -nom: "Blues & Roots"
    -informationComplementaire: ""
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      \r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      \r\n
      - 180 gram 45 RPM double LP !\r\n
      \r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original analog tape !\r\n
      \r\n
      - Mingus taps blues and roots sources for a joyous swinging outing !\r\n
      \r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      \r\n
      - Gatefold old-style "tip-on" jacket by Stoughton Printing !\r\n
      \r\n
      AllMusic marks Charles Mingus' Blues & Roots as a rejoinder to the critical carping that the virtuoso bass player and accomplished jazz pianist and bandleader and his evocative music "somehow didn't swing enough." For this album Mingus turned to the earthiest and earliest sources of black musical expression — blues, gospel, and old-time New Orleans jazz. The resulting album ranks arguably as Mingus' most joyously swinging outing.\r\n
      \r\n
      Recorded in 1959 and released in 1960, Blues & Roots' birth was explained by Mingus in the album's liner notes : "This record is unusual-it presents only one part of my musical world, the blues. A year ago, Nesuhi Ertegün suggested that I record an entire blues album in the style of 'Haitian Fight Song' (in Atlantic LP 1260), because some people, particularly critics, were saying I didn't swing enough. He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy. I thought it over. I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed".\r\n
      \r\n
      Anyone who had heard "Haitian Fight Song" shouldn't have been surprised that such an album was well within Mingus' range. Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be played simultaneously somewhat akin to the Dixieland ensembles of old, but with an acutely modern flavor.\r\n
      \r\n
      That modern flavor is reinforced and enhanced by the lush Analogue Productions reissue treatment that gives this new version more depth, richer sonic execution and acute audio clarity, particularly in the higher frequencies. Expert mastering from the original master tape by Kevin Gray at Cohearent Audio, and two 45 RPM flat-as-a-table 180 gram LP platters from Gary Salstrom and his crew at Quality Record Pressings properly unveil the loose and free-swinging performance. The wider-spaced grooves promote better cartridge tracking and the silent black playing surface stays clear of the audio playback.\r\n
      \r\n
      There's no question of Mingus' firm grounding in the basics on Blues & Roots, writes AllMusic, nor of his deeply felt affinity with them. Whether the music is explicitly gospel-based like the groundbreaking classic "Wednesday Night Prayer Meeting" or not, the whole album is performed with a churchy fervor that rips through both the exuberant swingers and the aching, mournful slow blues. Still, it's the blues that most prominently inform the feeling of the album, aside from the aforementioned "Wednesday Night Prayer Meeting" and the Jelly Roll Morton tribute "My Jelly Roll Soul".
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Charles Mingus (bass), Jackie McLean, John Handy (alto saxophone), Pepper Adams (baritone saxophone), Horace Parlan, Mal Waldron (piano), Booker Ervin (tenor saxophone), Jimmy Knepper, Willie Dennis (trombone), Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=uGJrFslQ4q4"
    -referenceProduit: "Analogue Productions AAPA 001-45"
    -titreMorceau: [
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        "nom" => "1. E's Flat Ah's Flat Too"
        "ordre" => 9
      ]
      [
        "nom" => "1. Moanin'"
        "ordre" => 4
      ]
      [
        "nom" => "1. Tensions"
        "ordre" => 6
      ]
      [
        "nom" => "1. Wednesday Night Prayer Meeting"
        "ordre" => 1
      ]
      [
        "nom" => "2. Cryin' Blues"
        "ordre" => 2
      ]
      [
        "nom" => "2. My Jelly Roll Soul"
        "ordre" => 7
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
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        "nom" => "Side B : "
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      ]
      [
        "nom" => "Side C : "
        "ordre" => 5
      ]
      [
        "nom" => "Side D : "
        "ordre" => 8
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2066 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2075 …}
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    -modifierLe: DateTime @1698664760 {#2062
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3276
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2615 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2064
    -id: 2468
    -nom: "Blues & Roots"
    -informationComplementaire: ""
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      \r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      \r\n
      - 180 gram 45 RPM double LP !\r\n
      \r\n
      - Mastered by Kevin Gray at Cohearent Audio from the original analog tape !\r\n
      \r\n
      - Mingus taps blues and roots sources for a joyous swinging outing !\r\n
      \r\n
      - Plated and pressed at Quality Record Pressings !\r\n
      \r\n
      - Gatefold old-style "tip-on" jacket by Stoughton Printing !\r\n
      \r\n
      AllMusic marks Charles Mingus' Blues & Roots as a rejoinder to the critical carping that the virtuoso bass player and accomplished jazz pianist and bandleader and his evocative music "somehow didn't swing enough." For this album Mingus turned to the earthiest and earliest sources of black musical expression — blues, gospel, and old-time New Orleans jazz. The resulting album ranks arguably as Mingus' most joyously swinging outing.\r\n
      \r\n
      Recorded in 1959 and released in 1960, Blues & Roots' birth was explained by Mingus in the album's liner notes : "This record is unusual-it presents only one part of my musical world, the blues. A year ago, Nesuhi Ertegün suggested that I record an entire blues album in the style of 'Haitian Fight Song' (in Atlantic LP 1260), because some people, particularly critics, were saying I didn't swing enough. He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy. I thought it over. I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed".\r\n
      \r\n
      Anyone who had heard "Haitian Fight Song" shouldn't have been surprised that such an album was well within Mingus' range. Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be played simultaneously somewhat akin to the Dixieland ensembles of old, but with an acutely modern flavor.\r\n
      \r\n
      That modern flavor is reinforced and enhanced by the lush Analogue Productions reissue treatment that gives this new version more depth, richer sonic execution and acute audio clarity, particularly in the higher frequencies. Expert mastering from the original master tape by Kevin Gray at Cohearent Audio, and two 45 RPM flat-as-a-table 180 gram LP platters from Gary Salstrom and his crew at Quality Record Pressings properly unveil the loose and free-swinging performance. The wider-spaced grooves promote better cartridge tracking and the silent black playing surface stays clear of the audio playback.\r\n
      \r\n
      There's no question of Mingus' firm grounding in the basics on Blues & Roots, writes AllMusic, nor of his deeply felt affinity with them. Whether the music is explicitly gospel-based like the groundbreaking classic "Wednesday Night Prayer Meeting" or not, the whole album is performed with a churchy fervor that rips through both the exuberant swingers and the aching, mournful slow blues. Still, it's the blues that most prominently inform the feeling of the album, aside from the aforementioned "Wednesday Night Prayer Meeting" and the Jelly Roll Morton tribute "My Jelly Roll Soul".
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Charles Mingus (bass), Jackie McLean, John Handy (alto saxophone), Pepper Adams (baritone saxophone), Horace Parlan, Mal Waldron (piano), Booker Ervin (tenor saxophone), Jimmy Knepper, Willie Dennis (trombone), Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=uGJrFslQ4q4"
    -referenceProduit: "Analogue Productions AAPA 001-45"
    -titreMorceau: [
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        "ordre" => 1
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      [
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        "ordre" => 8
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2066 …}
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      date: 2023-10-30 11:19:20.0 UTC (+00:00)
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[
  "produit" => App\Entity\Produit {#2080
    -id: 2354
    -nom: "Pre-Bird"
    -informationComplementaire: "AVAILABILITY : 30/09/2023 (subject Acoustic Sound)"
    -description: """
      Musicians : \r\n
      Charles Mingus (bass), Eric Dolphy (alto saxophone), Charles McCracken (cello), Paul Bley (piano), Bill Barron (tenor saxophone), Charles Greenlee (trombone), Clark Terry (trumpet), Don Butterfield (tuba), Robert DiDomenica (flute), Harry Schulman (oboe), Lorraine Cusson (vocals), George Scott (percussion), Dannie Richmond (drums).\r\n
      \r\n
      - Acoustic Sounds Series reissues from Verve / Universal Music Enterprises !\r\n
      \r\n
      - Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      - Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      - 180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      - Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
      - Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      This 1960 session falls historically between the astounding late-1959 work Charles Mingus did for Columbia Records and his slimmed-down pianoless quartet that made the classic Mingus at Antibes. Pre Bird and the Columbia material share some common elements, most obviously the large ensemble. Mingus devoted these sessions to his pre-1940s material and other works from the prebop era, and two of the best-played works are from Ellington's pen.\r\n
      \r\n
      Both "Take the 'A' Train" and "Do Nothin' Till You hear from Me" are taken at a distinctly Mingus pace, with Ellington's polyphony heightened and the tension increased considerably by the more-pouncing band here. "Prayer for Passive Resistance" shows the same pounce, as does "Mingus Fingus N°. 2", and both sound looser and more free-associative in the soloing than the Columbia work. Two additional highlights are "Weird Nightmare" and the third-stream-colored "Half-Mast Inhibition" (conducted by Gunther Schuller), which keens and squirrels about just off-center from either tonality or atonality. As for the band, it's got all the usual suspects and more: Eric Dolphy and Booker Ervin are the reed section's towering talents, and as always, Dannie Richmond keeps the drummed time. For Mingus fans, this is a treasure.\r\n
      \r\n
      Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180 gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings.\r\n
      \r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=IXxePStP0T0"
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        "nom" => "2. Bemoanable Lady "
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        "nom" => "3. Eclipse "
        "ordre" => 3
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        "nom" => "3. Half-Mast Inhibition"
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        "nom" => "4. Mingus Fingus N° 2 "
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    -artiste: App\Entity\Artiste {#1063 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3324
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2080
    -id: 2354
    -nom: "Pre-Bird"
    -informationComplementaire: "AVAILABILITY : 30/09/2023 (subject Acoustic Sound)"
    -description: """
      Musicians : \r\n
      Charles Mingus (bass), Eric Dolphy (alto saxophone), Charles McCracken (cello), Paul Bley (piano), Bill Barron (tenor saxophone), Charles Greenlee (trombone), Clark Terry (trumpet), Don Butterfield (tuba), Robert DiDomenica (flute), Harry Schulman (oboe), Lorraine Cusson (vocals), George Scott (percussion), Dannie Richmond (drums).\r\n
      \r\n
      - Acoustic Sounds Series reissues from Verve / Universal Music Enterprises !\r\n
      \r\n
      - Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      - Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      - 180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      - Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
      - Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      This 1960 session falls historically between the astounding late-1959 work Charles Mingus did for Columbia Records and his slimmed-down pianoless quartet that made the classic Mingus at Antibes. Pre Bird and the Columbia material share some common elements, most obviously the large ensemble. Mingus devoted these sessions to his pre-1940s material and other works from the prebop era, and two of the best-played works are from Ellington's pen.\r\n
      \r\n
      Both "Take the 'A' Train" and "Do Nothin' Till You hear from Me" are taken at a distinctly Mingus pace, with Ellington's polyphony heightened and the tension increased considerably by the more-pouncing band here. "Prayer for Passive Resistance" shows the same pounce, as does "Mingus Fingus N°. 2", and both sound looser and more free-associative in the soloing than the Columbia work. Two additional highlights are "Weird Nightmare" and the third-stream-colored "Half-Mast Inhibition" (conducted by Gunther Schuller), which keens and squirrels about just off-center from either tonality or atonality. As for the band, it's got all the usual suspects and more: Eric Dolphy and Booker Ervin are the reed section's towering talents, and as always, Dannie Richmond keeps the drummed time. For Mingus fans, this is a treasure.\r\n
      \r\n
      Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises' audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180 gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets. The releases are supervised by Chad Kassem, CEO of Acoustic Sounds, the world's largest source for audiophile recordings.\r\n
      \r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=IXxePStP0T0"
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        "nom" => "3. Eclipse "
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      [
        "nom" => "4. Mingus Fingus N° 2 "
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        "nom" => "Side A : "
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    -artiste: App\Entity\Artiste {#1063 …}
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[
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    -id: 389
    -nom: "Charles Mingus Presents Charles Mingus"
    -informationComplementaire: ""
    -description: """
      "Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a piece like Charles Mingus Presents Charles Mingus has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The leader's bass line kicks off 'Folk Forms N° 1', followed by Dolphy outlining the melody, and then joined by Curson. A simple riff develops into a lively New Orleans funeral march that's developed for 12 minutes. 'Original Faubus Fables' is serious in intent - a political attack on segregation governor Faubus - but Mingus and Richmond's singing is difficult to listen to with a straight face. Still, this doesn't distract from the wonderful music. Again and again, the elasticity of the sound is fascinating, at once spacious with the bass and drums balanced against the brass and then noisy, with the horns wailing and crying. The last two pieces, 'What I Love ?' and the outrageously titled 'All the Things Could Be by Now if Sigmund Freud's Wife Was Your Mother,' are much looser, bordering on free jazz. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free". - Review by Ronnie Lankford, Jr\r\n
      \r\n
      "… This record is required listening for any lover of jazz, even those who are generally shy of the more avant-garde sound of Dolphy mixed with the creative genius that always defined Mingus. It is a classic that deserves a place on the shelf along side of more accessible and better-known Columbia classics Mingus Ah Um and Mingus Dynasty… The original Candid pressings were first rate, and this re-issue combines all the strengths of the original with a better mastering chain and superior vinyl". Recording = 9/10; Music = 10/10 – Dennis Davis, Hi-Fi+, Issue 42 \r\n
      """
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        "nom" => "Side A : "
        "ordre" => 0
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      [
        "nom" => "Side B : "
        "ordre" => 3
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    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2098 …}
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    }
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    -slug: "vinyles-charles-mingus-presents-charles-mingus-pure-pleasure-records-cjs-9005"
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App\Twig\Components\GestionPanierFavoriComponents {#3372
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2615 …}
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  +produit: App\Entity\Produit {#2096
    -id: 389
    -nom: "Charles Mingus Presents Charles Mingus"
    -informationComplementaire: ""
    -description: """
      "Charles Mingus has a fascinating way of offering music that is grounded in tradition while remaining startlingly original. The freshness of a piece like Charles Mingus Presents Charles Mingus has the effect of rendering much of what passes for jazz as tedious. The band is small for Mingus and includes Eric Dolphy on alto saxophone and bass clarinet, Ted Curson on trumpet and Dannie Richmond on drums. It would be one of Dolphy and Curson's last recording dates with the artist, and they seem determined to go all out for it. The leader's bass line kicks off 'Folk Forms N° 1', followed by Dolphy outlining the melody, and then joined by Curson. A simple riff develops into a lively New Orleans funeral march that's developed for 12 minutes. 'Original Faubus Fables' is serious in intent - a political attack on segregation governor Faubus - but Mingus and Richmond's singing is difficult to listen to with a straight face. Still, this doesn't distract from the wonderful music. Again and again, the elasticity of the sound is fascinating, at once spacious with the bass and drums balanced against the brass and then noisy, with the horns wailing and crying. The last two pieces, 'What I Love ?' and the outrageously titled 'All the Things Could Be by Now if Sigmund Freud's Wife Was Your Mother,' are much looser, bordering on free jazz. The album accomplishes what the best of Mingus accomplishes: the perfect tension between jazz played as an ensemble and jazz played as totally free". - Review by Ronnie Lankford, Jr\r\n
      \r\n
      "… This record is required listening for any lover of jazz, even those who are generally shy of the more avant-garde sound of Dolphy mixed with the creative genius that always defined Mingus. It is a classic that deserves a place on the shelf along side of more accessible and better-known Columbia classics Mingus Ah Um and Mingus Dynasty… The original Candid pressings were first rate, and this re-issue combines all the strengths of the original with a better mastering chain and superior vinyl". Recording = 9/10; Music = 10/10 – Dennis Davis, Hi-Fi+, Issue 42 \r\n
      """
    -prixVente: "34.50"
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      date: 2022-11-04 07:46:37.0 UTC (+00:00)
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[
  "produit" => App\Entity\Produit {#2112
    -id: 2292
    -nom: "Oh Yeah"
    -informationComplementaire: ""
    -description: """
      Commenting on this album in 1962, Billboard magazine wrote: "He seems to be everywhere, everywhere that is but on his usual instrument".\r\n
      \r\n
      Charles Mingus, one of the most impressive musicians in the history of jazz, doesn't play a single note on the bass here for a change, but leads the band from his (blues) piano the instrument that he always used for composing. He hits the keys, he sings the blues, he shouts and he encourages apparently Mingus really found the need to express himself loudly in this album. (Doug Watkins stood in for him on the contrabass).\r\n
      \r\n
      Oh Yeah is definitely Mingus's most powerful and passionate album. He calls on two hot, intensive saxophonists Roland Kirk and Booker Ervin as well as Jimmy Knepper on the trombone. Kirk is the main soloist, but all three wind-players deliver expressive improvisations, carrying out a non-stop dialogue with one another, and pushing one other to achieve maximum energy. The music is wild and ecstatic, but it's not free jazz, remaining as it does grounded in blues and gospel. "Hog Callin' Blues" is an enthralling shuffle with a wealth of riffs, "Devil Woman" a clever slow blues with inventive wind figures. "Ecclusiastics", with its constant change of rhythm and expression alternating between gospel and blues has the most complex form.\r\n
      \r\n
      Blues has always been a part of a black church service, said Mingus. "Eat That Chicken" (a homage to Fats Waller and his favourite food) even plays around with an old-time, Dixie feeling. Humor is never far away. Even in the atomic bomb song (this too, a sort of churchy blues) one hears the words : "Don't let 'em drop it! Stop it! Be-bop it !"\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : November 1961 at Atlantic Studios, New York City, by Tom Dowd and Phil Iehle\r\n
      Production : Nesuhi Ertegun
      """
    -prixVente: "34.50"
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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        "nom" => "3. Wham Bam Thank You Ma'am "
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        "nom" => "4. Passions of a Man"
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      date: 2022-09-30 06:20:08.0 UTC (+00:00)
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App\Twig\Components\GestionPanierFavoriComponents {#3420
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2615 …}
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    -id: 2292
    -nom: "Oh Yeah"
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      Commenting on this album in 1962, Billboard magazine wrote: "He seems to be everywhere, everywhere that is but on his usual instrument".\r\n
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      Charles Mingus, one of the most impressive musicians in the history of jazz, doesn't play a single note on the bass here for a change, but leads the band from his (blues) piano the instrument that he always used for composing. He hits the keys, he sings the blues, he shouts and he encourages apparently Mingus really found the need to express himself loudly in this album. (Doug Watkins stood in for him on the contrabass).\r\n
      \r\n
      Oh Yeah is definitely Mingus's most powerful and passionate album. He calls on two hot, intensive saxophonists Roland Kirk and Booker Ervin as well as Jimmy Knepper on the trombone. Kirk is the main soloist, but all three wind-players deliver expressive improvisations, carrying out a non-stop dialogue with one another, and pushing one other to achieve maximum energy. The music is wild and ecstatic, but it's not free jazz, remaining as it does grounded in blues and gospel. "Hog Callin' Blues" is an enthralling shuffle with a wealth of riffs, "Devil Woman" a clever slow blues with inventive wind figures. "Ecclusiastics", with its constant change of rhythm and expression alternating between gospel and blues has the most complex form.\r\n
      \r\n
      Blues has always been a part of a black church service, said Mingus. "Eat That Chicken" (a homage to Fats Waller and his favourite food) even plays around with an old-time, Dixie feeling. Humor is never far away. Even in the atomic bomb song (this too, a sort of churchy blues) one hears the words : "Don't let 'em drop it! Stop it! Be-bop it !"\r\n
      \r\n
      This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.\r\n
      \r\n
      Recording : November 1961 at Atlantic Studios, New York City, by Tom Dowd and Phil Iehle\r\n
      Production : Nesuhi Ertegun
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Charles Mingus (piano, vocals), Booker Ervin (tenor saxophone), Roland Kirk (flute, tenor saxophone, siren, manzello, stritch) Jimmy Knepper (trombone), Doug Watkins (bass), Dannie Richmond (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: "Speakers Corner Records SD-1377"
    -titreMorceau: [
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        "nom" => "1. Ecclusiastics "
        "ordre" => 5
      ]
      [
        "nom" => "1. Hog Callin' Blues \t"
        "ordre" => 1
      ]
      [
        "nom" => "2. Devil Woman \t"
        "ordre" => 2
      ]
      [
        "nom" => "2. Oh Lord Don't Let Them Drop That Atomic Bomb On Me "
        "ordre" => 6
      ]
      [
        "nom" => "3. Eat That Chicken "
        "ordre" => 7
      ]
      [
        "nom" => "3. Wham Bam Thank You Ma'am "
        "ordre" => 3
      ]
      [
        "nom" => "4. Passions of a Man"
        "ordre" => 8
      ]
      [
        "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 …}
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    }
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      date: 2022-09-30 06:20:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2117 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-oh-yeah-speakers-corner-records-sd-1377"
  }
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2383 …}
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[
  "produit" => App\Entity\Produit {#2125
    -id: 1797
    -nom: "Mingus Ah Um - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: ""
    -description: """
      The Ultimate Version of Landmark 1959 Album : Deluxe Audiophile Set Strictly Limited to 6000 Numbered Copies (Limit Two Per Customer) !\r\n
      \r\n
      "Better Git It in Your Soul" not only serves as the name of the inviting, holler-appointed opening track of Charles Mingus' Mingus Ah Um. It epitomizes the spirit, urgency, freedom, and feel-it-in-your-bones passion of an album that along with Miles Davis' Kind of Blue, Dave Brubeck's Time Out, and John Coltrane's Giant Steps forms the Mount Rushmore of quintessential records from 1959-1960, jazz's watershed graduating class. Indeed, Mingus Ah Um is cited on practically every "greatest" list assembled and enjoys the rare distinction of wearing a prestigious crown in the Penguin Guide to Jazz and membership in the Grammy Hall of Fame. Now, it receives the highest sonic treatment available in the form of a reissue worthy of its preeminent creative stature. \r\n
      \r\n
      Strictly limited to 6000 numbered copies and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step collector's edition makes Mingus Ah Um pop with unprecedented vibrancy, command, energy, and scale. The bassist's church-music roots spring to life in the form of blues themes, moaned vocals, spiritual motifs, and preacher-inspired riffs that register with hyper-realistic dimensionality and natural intimacy. Experienced as a seamless whole just as the cigar-chomping composer intended the band enters your listening room, its intertwined assembly of notes, phrases, pauses, shapes, and solos yielding something more music. What you hear here is the formation of aura and atmosphere traditionally only associated with live concerts. Such is the allure of UD1S and 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 indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\r\n
      \r\n
      The lavish packaging and gorgeous presentation of the UD1S Mingus Ah Um pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the textures.\r\n
      \r\n
      And clearly, Mingus ardently honored and prized the aforementioned aspects on his Columbia Records debut. Witness the unforgettable cover art, a painting by S. Neil Fujita, whose varied hues, abstract geometries, free-base forms, and ornate albeit clean presentation mirrors the seemingly impossible blend of accessibility, complexity, experimentalism, consistency, focus, individualism, and collectivity reflected in every passage of the incredibly diverse album. Or, simply look at the reverence Mingus displays for his ancestors and their contributions to jazz's ongoing conversation and cultural relevance via "Jelly Roll" (for Jelly Roll Morton), "Open Letter to Duke" (for Duke Ellington), and the hallmark ballad "Goodbye Pork Pie Hat" (an homage to Lester Young\r\n
      ).\r\n
      Above all, however, Mingus Ah Um stands as an exuberant tribute to the idea (and blueprint-caliber execution) of fully realized musical frameworks serving as launching pads for expressive interactions, responses, exchanges, and improvisations. At the core, personality, character, invention, and, color remain paramount. Mingus Ah Um acts as an aural representation of a philosophy the artist espoused before and after the recording sessions. In the liner notes to the record's follow-up, and penned shortly after the recording of Mingus Ah Um, he spoke of striving for "primitive, mystic, supra-mind communication" and avoiding the repetition, boredom, apathy, and cliché associated with falling into set patterns and mimicking the approach of recognized giants. In other words, he demanded each member of his band "play himself".\r\n
      \r\n
      Nothing could be truer when you hear in such vivid detail the work of saxophonists John Handy, Shafi Hadi, and Booker Ervin, trombonists Willie Dennis and Jimmy Knepper, pianist Horace Parlan, drummer Dannie Richmond, and the genius bass playing of Mingus himself. The collective's technical acumen be it multi-tone row scales, pedal point rhythmic patterns, traditional chords, melodic moods, harmonic lines, beginning/ending-blurring context, high registers, major and minor thirds (and absence thereof), pivot-point chromatics, diatonic manners, open fifths, and more lingers not only in the mind, but invigorates the senses.\r\n
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Charles Mingus (bass, piano),? John Handy (alto & tenor sax, clarinet), ?Booker Ervin (tenor sax),? Shafi Hadi (tenor & alto sax),? Willie Dennis, Jimmy Knepper (trombone),? Horace Parlan (piano), ?Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=yzlWvNbxrho"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S-010"
    -titreMorceau: [
      [
        "nom" => "1. Better Git It in Your Soul"
        "ordre" => 1
      ]
      [
        "nom" => "1. Bird Calls"
        "ordre" => 8
      ]
      [
        "nom" => "1. Boogie Stop Shuffle"
        "ordre" => 4
      ]
      [
        "nom" => "1. Pussy Cat Dues"
        "ordre" => 11
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      [
        "nom" => "2. Fables of Faubus"
        "ordre" => 9
      ]
      [
        "nom" => "2. Goodbye Pork Pie Hat"
        "ordre" => 2
      ]
      [
        "nom" => "2. Jelly Roll"
        "ordre" => 12
      ]
      [
        "nom" => "2. Self-Portrait in Three Colors"
        "ordre" => 5
      ]
      [
        "nom" => "3. Open Letter to Duke"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2127 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2136 …}
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    -modifierLe: DateTime @1653485974 {#2123
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -slug: "vinyles-mingus-ah-um-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab-mfsl-45ud1s-010"
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App\Twig\Components\GestionPanierFavoriComponents {#3468
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  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2615 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 1797
    -nom: "Mingus Ah Um - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: ""
    -description: """
      The Ultimate Version of Landmark 1959 Album : Deluxe Audiophile Set Strictly Limited to 6000 Numbered Copies (Limit Two Per Customer) !\r\n
      \r\n
      "Better Git It in Your Soul" not only serves as the name of the inviting, holler-appointed opening track of Charles Mingus' Mingus Ah Um. It epitomizes the spirit, urgency, freedom, and feel-it-in-your-bones passion of an album that along with Miles Davis' Kind of Blue, Dave Brubeck's Time Out, and John Coltrane's Giant Steps forms the Mount Rushmore of quintessential records from 1959-1960, jazz's watershed graduating class. Indeed, Mingus Ah Um is cited on practically every "greatest" list assembled and enjoys the rare distinction of wearing a prestigious crown in the Penguin Guide to Jazz and membership in the Grammy Hall of Fame. Now, it receives the highest sonic treatment available in the form of a reissue worthy of its preeminent creative stature. \r\n
      \r\n
      Strictly limited to 6000 numbered copies and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step collector's edition makes Mingus Ah Um pop with unprecedented vibrancy, command, energy, and scale. The bassist's church-music roots spring to life in the form of blues themes, moaned vocals, spiritual motifs, and preacher-inspired riffs that register with hyper-realistic dimensionality and natural intimacy. Experienced as a seamless whole just as the cigar-chomping composer intended the band enters your listening room, its intertwined assembly of notes, phrases, pauses, shapes, and solos yielding something more music. What you hear here is the formation of aura and atmosphere traditionally only associated with live concerts. Such is the allure of UD1S and 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 indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\r\n
      \r\n
      The lavish packaging and gorgeous presentation of the UD1S Mingus Ah Um pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the textures.\r\n
      \r\n
      And clearly, Mingus ardently honored and prized the aforementioned aspects on his Columbia Records debut. Witness the unforgettable cover art, a painting by S. Neil Fujita, whose varied hues, abstract geometries, free-base forms, and ornate albeit clean presentation mirrors the seemingly impossible blend of accessibility, complexity, experimentalism, consistency, focus, individualism, and collectivity reflected in every passage of the incredibly diverse album. Or, simply look at the reverence Mingus displays for his ancestors and their contributions to jazz's ongoing conversation and cultural relevance via "Jelly Roll" (for Jelly Roll Morton), "Open Letter to Duke" (for Duke Ellington), and the hallmark ballad "Goodbye Pork Pie Hat" (an homage to Lester Young\r\n
      ).\r\n
      Above all, however, Mingus Ah Um stands as an exuberant tribute to the idea (and blueprint-caliber execution) of fully realized musical frameworks serving as launching pads for expressive interactions, responses, exchanges, and improvisations. At the core, personality, character, invention, and, color remain paramount. Mingus Ah Um acts as an aural representation of a philosophy the artist espoused before and after the recording sessions. In the liner notes to the record's follow-up, and penned shortly after the recording of Mingus Ah Um, he spoke of striving for "primitive, mystic, supra-mind communication" and avoiding the repetition, boredom, apathy, and cliché associated with falling into set patterns and mimicking the approach of recognized giants. In other words, he demanded each member of his band "play himself".\r\n
      \r\n
      Nothing could be truer when you hear in such vivid detail the work of saxophonists John Handy, Shafi Hadi, and Booker Ervin, trombonists Willie Dennis and Jimmy Knepper, pianist Horace Parlan, drummer Dannie Richmond, and the genius bass playing of Mingus himself. The collective's technical acumen be it multi-tone row scales, pedal point rhythmic patterns, traditional chords, melodic moods, harmonic lines, beginning/ending-blurring context, high registers, major and minor thirds (and absence thereof), pivot-point chromatics, diatonic manners, open fifths, and more lingers not only in the mind, but invigorates the senses.\r\n
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Charles Mingus (bass, piano),? John Handy (alto & tenor sax, clarinet), ?Booker Ervin (tenor sax),? Shafi Hadi (tenor & alto sax),? Willie Dennis, Jimmy Knepper (trombone),? Horace Parlan (piano), ?Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=yzlWvNbxrho"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S-010"
    -titreMorceau: [
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        "ordre" => 1
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      [
        "nom" => "1. Bird Calls"
        "ordre" => 8
      ]
      [
        "nom" => "1. Boogie Stop Shuffle"
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      ]
      [
        "nom" => "1. Pussy Cat Dues"
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      ]
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        "nom" => "2. Goodbye Pork Pie Hat"
        "ordre" => 2
      ]
      [
        "nom" => "2. Jelly Roll"
        "ordre" => 12
      ]
      [
        "nom" => "2. Self-Portrait in Three Colors"
        "ordre" => 5
      ]
      [
        "nom" => "3. Open Letter to Duke"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
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        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2127 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2136 …}
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    }
    -modifierLe: DateTime @1653485974 {#2123
      date: 2022-05-25 13:39:34.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2133 …}
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    -slug: "vinyles-mingus-ah-um-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab-mfsl-45ud1s-010"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2383 …}
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[
  "produit" => App\Entity\Produit {#2141
    -id: 2031
    -nom: "The Black Saint And The Sinner Lady"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Charlie Mingus (bass, piano), Charlie Mariano (alto saxophone), Jerome Richardson (soprano & baritone saxophone, flute), Dick Hafer (tenor saxophone, flute), Quentin Jackson (trombone), Richard Williams, Rolf Ericson (trumpet), Don Butterfield (tuba), Jay Berliner (guitar), Jaki Byard (piano), Dannie Richmond (drums).\r\n
      \r\n
      Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      \r\n
      Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
      Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      On January 20, 1963, bassist and composer Charles Mingus recorded in just one session astonishingly a very personal and socially conscious work he titled The Black Saint & The Sinner Lady. With liner notes written by Mingus's psychotherapist, the album uses ornate ensemble orchestration to produce a sound somewhere between jazz and folk.\r\n
      \r\n
      Released on Impulse! Records in 1963, the album consists of a single continuous composition partially written as a ballet divided into four tracks and six movements. Of his adventurous and hauntingly eloquent work, among his other creations, Mingus said : "My music is evidence of my soul's will to live".  The evidence of that life-force amounts to some of the most dramatic and powerful jazz composed in the 20th century.\r\n
      \r\n
      Mingus was born in Arizona on April 22, 1922 and raised in Los Angeles. He was taught double-bass by Red Callendar, and by the New York Philharmonic Orchestra's Herman Rheinshagen (classical music played as big a part in his compositional thinking as gospel songs and the blues). Mingus toured with New Orleans players Louis Armstrong and Kid Ory in the 40s, and later worked briefly with Lionel Hampton and Duke Ellington.\r\n
      \r\n
      If he had been an improvising instrumentalist alone, Mingus would have been a jazz legend simply for his bass playing. Yet bass-playing also gave Mingus an insight into the low sonorities and inner hamonies of jazz composition, and his melodic approach was profoundly influenced by the blues and gospel music of his childhood. 
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Charlie Mingus (bass, piano), Charlie Mariano (alto saxophone), Jerome Richardson (soprano & baritone saxophone, flute), Dick Hafer (tenor saxophone, flute), Quentin Jackson (trombone), Richard Williams, Rolf Ericson (trumpet)…"
    -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=zFA0FYQo0Gg"
    -referenceProduit: "Acoustic Sounds Series 60201"
    -titreMorceau: [
      [
        "nom" => "1. Solo Dancer (Stop! And Listen, Sinner Jim Whitney !)"
        "ordre" => 1
      ]
      [
        "nom" => "1. Trio And Group Dancers (Stop ! Look ! And Sing Songs Of Revolutions !)"
        "ordre" => 5
      ]
      [
        "nom" => "2. Duet Solo Dancers (Heart's Beat And Shades In Physical Embraces)"
        "ordre" => 2
      ]
      [
        "nom" => "2. Single Solos And Group Dance (Saint And Sinner Join In Merriment On Battle Front)"
        "ordre" => 6
      ]
      [
        "nom" => "3. Group And Solo Dance (Of Love, Pain, And Passioned Revolt, Then Farewell,"
        "ordre" => 7
      ]
      [
        "nom" => "3. Group Dancers (Soul Fusion Freewoman And Oh This Freedom's Slave Cries)"
        "ordre" => 3
      ]
      [
        "nom" => "My Beloved, 'til It's Freedom Day)"
        "ordre" => 8
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2082 …}
    -style: App\Entity\Style {#1468 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2144 …}
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    }
    -modifierLe: DateTime @1637741015 {#2139
      date: 2021-11-24 08:03:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2146 …}
    -disponible: null
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    -slug: "vinyles-the-black-saint-and-the-sinner-lady-acoustic-sounds-series-60201"
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  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3516
  -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 {#2615 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2141
    -id: 2031
    -nom: "The Black Saint And The Sinner Lady"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Charlie Mingus (bass, piano), Charlie Mariano (alto saxophone), Jerome Richardson (soprano & baritone saxophone, flute), Dick Hafer (tenor saxophone, flute), Quentin Jackson (trombone), Richard Williams, Rolf Ericson (trumpet), Don Butterfield (tuba), Jay Berliner (guitar), Jaki Byard (piano), Dannie Richmond (drums).\r\n
      \r\n
      Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      \r\n
      Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
      Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      On January 20, 1963, bassist and composer Charles Mingus recorded in just one session astonishingly a very personal and socially conscious work he titled The Black Saint & The Sinner Lady. With liner notes written by Mingus's psychotherapist, the album uses ornate ensemble orchestration to produce a sound somewhere between jazz and folk.\r\n
      \r\n
      Released on Impulse! Records in 1963, the album consists of a single continuous composition partially written as a ballet divided into four tracks and six movements. Of his adventurous and hauntingly eloquent work, among his other creations, Mingus said : "My music is evidence of my soul's will to live".  The evidence of that life-force amounts to some of the most dramatic and powerful jazz composed in the 20th century.\r\n
      \r\n
      Mingus was born in Arizona on April 22, 1922 and raised in Los Angeles. He was taught double-bass by Red Callendar, and by the New York Philharmonic Orchestra's Herman Rheinshagen (classical music played as big a part in his compositional thinking as gospel songs and the blues). Mingus toured with New Orleans players Louis Armstrong and Kid Ory in the 40s, and later worked briefly with Lionel Hampton and Duke Ellington.\r\n
      \r\n
      If he had been an improvising instrumentalist alone, Mingus would have been a jazz legend simply for his bass playing. Yet bass-playing also gave Mingus an insight into the low sonorities and inner hamonies of jazz composition, and his melodic approach was profoundly influenced by the blues and gospel music of his childhood. 
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Charlie Mingus (bass, piano), Charlie Mariano (alto saxophone), Jerome Richardson (soprano & baritone saxophone, flute), Dick Hafer (tenor saxophone, flute), Quentin Jackson (trombone), Richard Williams, Rolf Ericson (trumpet)…"
    -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=zFA0FYQo0Gg"
    -referenceProduit: "Acoustic Sounds Series 60201"
    -titreMorceau: [
      [
        "nom" => "1. Solo Dancer (Stop! And Listen, Sinner Jim Whitney !)"
        "ordre" => 1
      ]
      [
        "nom" => "1. Trio And Group Dancers (Stop ! Look ! And Sing Songs Of Revolutions !)"
        "ordre" => 5
      ]
      [
        "nom" => "2. Duet Solo Dancers (Heart's Beat And Shades In Physical Embraces)"
        "ordre" => 2
      ]
      [
        "nom" => "2. Single Solos And Group Dance (Saint And Sinner Join In Merriment On Battle Front)"
        "ordre" => 6
      ]
      [
        "nom" => "3. Group And Solo Dance (Of Love, Pain, And Passioned Revolt, Then Farewell,"
        "ordre" => 7
      ]
      [
        "nom" => "3. Group Dancers (Soul Fusion Freewoman And Oh This Freedom's Slave Cries)"
        "ordre" => 3
      ]
      [
        "nom" => "My Beloved, 'til It's Freedom Day)"
        "ordre" => 8
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2082 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2149 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2142 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2144 …}
    -enregistreLe: DateTime @1620921610 {#2138
      date: 2021-05-13 16:00:10.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1637741015 {#2139
      date: 2021-11-24 08:03:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2146 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-black-saint-and-the-sinner-lady-acoustic-sounds-series-60201"
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  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2383 …}
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[
  "produit" => App\Entity\Produit {#2156
    -id: 2030
    -nom: "Mingus Mingus Mingus Mingus Mingus"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Charles Mingus (bass, piano), Jerome Richardson (baritone & soprano saxophone, flute), Dick Hafer (tenor saxophone, flute, clarinet), Charlie Mariano (alto saxophone), Booker Ervin (tenor saxophone), Eric Dolphy (alto saxophone, flute), Rolf Ericson, Richard Williams, Eddie Preston (trumpet), Quentin Jackson, Britt Woodman (trombone), Don Butterfield (contrabass trombone, tuba), Jay Berliner (guitar), Jaki Byard (piano), Dannie Richmond, Walter Perkins (drums).\r\n
      \r\n
      Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      \r\n
      Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
      Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      "The album features the two sides of Mingus' compositional genius: the beautiful balladry that I always feel has a bit of a film-noir feel to it, alongside those joyous upbeat numbers that are filled with an organized chaos that categorizes much of the bassist's best work. ... Throw in the fact that it also features Jaki Byard (who is just phenomenal on this recording and remains criminally underrated), Booker Ervin, Dannie Richmond and Eric Dolphy and you have some of Mingus' finest sidemen driving his compositions to the fantastical places they seemed preordained to go. ... Mingus, Mingus, Mingus, Mingus, Mingus is a record that has more than stood the test of time and is an everlasting testament to the talents of Mingus and the players who had the ability to follow his musical vision". — The Jazz Record\r\n
      \r\n
      Mingus, Mingus, Mingus, Mingus, Mingus was Charles Mingus' last major studio recording of the 1960s (the solo Mingus Plays Piano would also be released the same year in 1964) and it's a real treasure in the great jazz bassist's discography\r\n
      \r\n
      Two of the tracks ("Celia" and "I X Love") were recorded at the sessions for The Black Saint And The Sinner Lady, while the rest were laid down eight months later with a group that included Booker Ervin, Eric Dolphy and Jaki Byard (Byard also played on the two earlier tracks). Both sessions featured groups of 11 players, all of whom were in top form in performing Mingus' notoriously complex compositions, writes jazzrecord.com.\r\n
      \r\n
      All but two tracks on Mingus, Mingus, Mingus, Mingus, Mingus were re-interpretations of songs from the bassist's earlier catalog, only "Celia" rates as a new original number, and "Mood Indigo" is a cover of the famous tune by Mingus's hero Duke Ellington. If you happen to have lost your Mingus decoder ring, the remaining tracks correlate to their past counterparts as such :\r\n
      \r\n
      "II B.S." = "Haitian Fight Song"\r\n
      "I X Love" = "Nouroog"\r\n
      "Better Get Hit In Yo' Soul" = "Better Git It In Yo' Soul"\r\n
      "Theme For Lester Young" = "Goodbye Pork Pie Hat"\r\n
      "Hora Decubitus" = "E's Flat Ah's Flat Too"\r\n
      \r\n
      For Mingus, Mingus, Mingus, Mingus, Mingus Mingus collaborated with arranger/orchestrator Bob Hammer to score the music for the large ensemble of brass and saxophones. Recorded January 20 and September 20, 1963 in New York City.\r\n
      \r\n
      Track :  A2 & A3 Charles Mingus (bass, piano), Jerome Richardson (baritone & soprano saxophone, flute), Dick Hafer (tenor saxophone, flute), Charlie Mariano (alto saxophone), Rolf Ericson, Richard Williams (trumpet), Quentin Jackson (trombone), Don Butterfield (contrabass trombone, tuba), Jay Berliner (guitar), Jaki Byard (piano), Dannie Richmond (drums)\r\n
      \r\n
      Track :  A2, A4, B1, B2, & B3\r\n
      Charles Mingus (bass), Dick Hafer (tenor (saxophone, flute, clarinet), Jerome Richardson (baritone & soprano saxophone, flute), Booker Ervin (tenor saxophone), Eric Dolphy (alto saxophone, flute), Eddie Preston, Richard Williams (trumpet), Britt Woodman (trombone), Don Butterfield (tuba), Jaki Byard (piano), Walter Perkins (drums)
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Charles Mingus (bass, piano), Jerome Richardson (baritone & soprano saxophone, flute), Dick Hafer (tenor saxophone, flute, clarinet), Charlie Mariano (alto saxophone), Booker Ervin (tenor saxophone), Eric Dolphy (alto saxophone, flute)…"
    -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=w0E1XTqUlCc"
    -referenceProduit: "Acoustic Sounds Series 60101"
    -titreMorceau: [
      [
        "nom" => "1. Better Get Hit In Yo' Soul"
        "ordre" => 6
      ]
      [
        "nom" => "1. II B.S."
        "ordre" => 1
      ]
      [
        "nom" => "2. I X Love"
        "ordre" => 2
      ]
      [
        "nom" => "2. Theme For Lester Young"
        "ordre" => 7
      ]
      [
        "nom" => "3. Celia"
        "ordre" => 3
      ]
      [
        "nom" => "3. Hora Decubitus"
        "ordre" => 8
      ]
      [
        "nom" => "4. Mood Indigo"
        "ordre" => 4
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 5
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2082 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2164 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2157 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2159 …}
    -enregistreLe: DateTime @1620919637 {#2152
      date: 2021-05-13 15:27:17.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1637740691 {#2151
      date: 2021-11-24 07:58:11.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2161 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-mingus-mingus-mingus-mingus-mingus-acoustic-sounds-series-60101"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3564
  -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 {#2615 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2156
    -id: 2030
    -nom: "Mingus Mingus Mingus Mingus Mingus"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Charles Mingus (bass, piano), Jerome Richardson (baritone & soprano saxophone, flute), Dick Hafer (tenor saxophone, flute, clarinet), Charlie Mariano (alto saxophone), Booker Ervin (tenor saxophone), Eric Dolphy (alto saxophone, flute), Rolf Ericson, Richard Williams, Eddie Preston (trumpet), Quentin Jackson, Britt Woodman (trombone), Don Butterfield (contrabass trombone, tuba), Jay Berliner (guitar), Jaki Byard (piano), Dannie Richmond, Walter Perkins (drums).\r\n
      \r\n
      Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      \r\n
      Monthly releases highlighting the world's most historic and best jazz records !\r\n
      \r\n
      Mastered by Ryan K. Smith at Sterling Sound from the original analog tapes !\r\n
      \r\n
      180 gram LPs pressed at Quality Record Pressings !\r\n
      \r\n
      Stoughton Printing gatefold old-style tip-on jackets !\r\n
      \r\n
      Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      "The album features the two sides of Mingus' compositional genius: the beautiful balladry that I always feel has a bit of a film-noir feel to it, alongside those joyous upbeat numbers that are filled with an organized chaos that categorizes much of the bassist's best work. ... Throw in the fact that it also features Jaki Byard (who is just phenomenal on this recording and remains criminally underrated), Booker Ervin, Dannie Richmond and Eric Dolphy and you have some of Mingus' finest sidemen driving his compositions to the fantastical places they seemed preordained to go. ... Mingus, Mingus, Mingus, Mingus, Mingus is a record that has more than stood the test of time and is an everlasting testament to the talents of Mingus and the players who had the ability to follow his musical vision". — The Jazz Record\r\n
      \r\n
      Mingus, Mingus, Mingus, Mingus, Mingus was Charles Mingus' last major studio recording of the 1960s (the solo Mingus Plays Piano would also be released the same year in 1964) and it's a real treasure in the great jazz bassist's discography\r\n
      \r\n
      Two of the tracks ("Celia" and "I X Love") were recorded at the sessions for The Black Saint And The Sinner Lady, while the rest were laid down eight months later with a group that included Booker Ervin, Eric Dolphy and Jaki Byard (Byard also played on the two earlier tracks). Both sessions featured groups of 11 players, all of whom were in top form in performing Mingus' notoriously complex compositions, writes jazzrecord.com.\r\n
      \r\n
      All but two tracks on Mingus, Mingus, Mingus, Mingus, Mingus were re-interpretations of songs from the bassist's earlier catalog, only "Celia" rates as a new original number, and "Mood Indigo" is a cover of the famous tune by Mingus's hero Duke Ellington. If you happen to have lost your Mingus decoder ring, the remaining tracks correlate to their past counterparts as such :\r\n
      \r\n
      "II B.S." = "Haitian Fight Song"\r\n
      "I X Love" = "Nouroog"\r\n
      "Better Get Hit In Yo' Soul" = "Better Git It In Yo' Soul"\r\n
      "Theme For Lester Young" = "Goodbye Pork Pie Hat"\r\n
      "Hora Decubitus" = "E's Flat Ah's Flat Too"\r\n
      \r\n
      For Mingus, Mingus, Mingus, Mingus, Mingus Mingus collaborated with arranger/orchestrator Bob Hammer to score the music for the large ensemble of brass and saxophones. Recorded January 20 and September 20, 1963 in New York City.\r\n
      \r\n
      Track :  A2 & A3 Charles Mingus (bass, piano), Jerome Richardson (baritone & soprano saxophone, flute), Dick Hafer (tenor saxophone, flute), Charlie Mariano (alto saxophone), Rolf Ericson, Richard Williams (trumpet), Quentin Jackson (trombone), Don Butterfield (contrabass trombone, tuba), Jay Berliner (guitar), Jaki Byard (piano), Dannie Richmond (drums)\r\n
      \r\n
      Track :  A2, A4, B1, B2, & B3\r\n
      Charles Mingus (bass), Dick Hafer (tenor (saxophone, flute, clarinet), Jerome Richardson (baritone & soprano saxophone, flute), Booker Ervin (tenor saxophone), Eric Dolphy (alto saxophone, flute), Eddie Preston, Richard Williams (trumpet), Britt Woodman (trombone), Don Butterfield (tuba), Jaki Byard (piano), Walter Perkins (drums)
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Charles Mingus (bass, piano), Jerome Richardson (baritone & soprano saxophone, flute), Dick Hafer (tenor saxophone, flute, clarinet), Charlie Mariano (alto saxophone), Booker Ervin (tenor saxophone), Eric Dolphy (alto saxophone, flute)…"
    -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=w0E1XTqUlCc"
    -referenceProduit: "Acoustic Sounds Series 60101"
    -titreMorceau: [
      [
        "nom" => "1. Better Get Hit In Yo' Soul"
        "ordre" => 6
      ]
      [
        "nom" => "1. II B.S."
        "ordre" => 1
      ]
      [
        "nom" => "2. I X Love"
        "ordre" => 2
      ]
      [
        "nom" => "2. Theme For Lester Young"
        "ordre" => 7
      ]
      [
        "nom" => "3. Celia"
        "ordre" => 3
      ]
      [
        "nom" => "3. Hora Decubitus"
        "ordre" => 8
      ]
      [
        "nom" => "4. Mood Indigo"
        "ordre" => 4
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 5
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2082 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2164 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2157 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
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    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2159 …}
    -enregistreLe: DateTime @1620919637 {#2152
      date: 2021-05-13 15:27:17.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1637740691 {#2151
      date: 2021-11-24 07:58:11.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2161 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-mingus-mingus-mingus-mingus-mingus-acoustic-sounds-series-60101"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2383 …}
}

[
  "produit" => App\Entity\Produit {#2171
    -id: 1054
    -nom: "The Clown"
    -informationComplementaire: ""
    -description: """
      Who hasn't got an ancient, worn-out copy of "The Clown" on his shelf, with a tatty cover and torn inner sleeve ? Or maybe one of the rare re-releases made of cheap, thin vinyl with dreadful graphic art ? And if you haven't heard this gem for a long time, despite the flood of Mingus LPs, CDs and downloads on the market, then you really should seize this opportunity to do so. "The Clown" was, and still is, an absolute must-have for every jazz collector. The small ensemble, only five musicians, came into the New York Atlantic Records studio in March 1957 to record music exclusively composed by the double bassist. Over the next 15 years, three of them were to be heard in numerous concerts with other ensembles. But the original recordings on this LP were the most deeply concentrated, the most versatile, and quite simply the best of all. The more so because the label attached great importance to optimal studio conditions and allowed the instrumentalists plenty of time to make the recordings.\r\n
      \r\n
      In the present reissue "The Clown" can be enjoyed to the full from the very first note of "Haitian Fight Song" up until the words "William Morris Sends Regrets" in the title work.\r\n
      """
    -prixVente: "32.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1925 …}
    -musicienOrchestre: "Charles Mingus (bass), Curtis Porter (alto & tenor saxophone),  Jimmy Knepper (trombone), Wade Legge (piano), Jean Shepherd (vocals), Dannie Richmond (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: "https://www.youtube.com/watch?v=KESFYXQwCYA"
    -referenceProduit: "Atlantic 1260"
    -titreMorceau: [
      [
        "nom" => "1. Haitian Fight Song"
        "ordre" => 1
      ]
      [
        "nom" => "1. Reincarnation of A Lovebird"
        "ordre" => 4
      ]
      [
        "nom" => "2. Blue Cee"
        "ordre" => 2
      ]
      [
        "nom" => "2. The Clown"
        "ordre" => 5
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2179 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2172 …}
    -typeMasterTape: null
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    -typeMateriel: null
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    -modifierLe: DateTime @1625899922 {#2166
      date: 2021-07-10 06:52:02.0 UTC (+00:00)
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App\Twig\Components\GestionPanierFavoriComponents {#3612
  -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 {#2615 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2171
    -id: 1054
    -nom: "The Clown"
    -informationComplementaire: ""
    -description: """
      Who hasn't got an ancient, worn-out copy of "The Clown" on his shelf, with a tatty cover and torn inner sleeve ? Or maybe one of the rare re-releases made of cheap, thin vinyl with dreadful graphic art ? And if you haven't heard this gem for a long time, despite the flood of Mingus LPs, CDs and downloads on the market, then you really should seize this opportunity to do so. "The Clown" was, and still is, an absolute must-have for every jazz collector. The small ensemble, only five musicians, came into the New York Atlantic Records studio in March 1957 to record music exclusively composed by the double bassist. Over the next 15 years, three of them were to be heard in numerous concerts with other ensembles. But the original recordings on this LP were the most deeply concentrated, the most versatile, and quite simply the best of all. The more so because the label attached great importance to optimal studio conditions and allowed the instrumentalists plenty of time to make the recordings.\r\n
      \r\n
      In the present reissue "The Clown" can be enjoyed to the full from the very first note of "Haitian Fight Song" up until the words "William Morris Sends Regrets" in the title work.\r\n
      """
    -prixVente: "32.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1925 …}
    -musicienOrchestre: "Charles Mingus (bass), Curtis Porter (alto & tenor saxophone),  Jimmy Knepper (trombone), Wade Legge (piano), Jean Shepherd (vocals), Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=KESFYXQwCYA"
    -referenceProduit: "Atlantic 1260"
    -titreMorceau: [
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        "nom" => "Side B : "
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    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1917 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-the-clown-atlantic-1260"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2383 …}
}

[
  "produit" => App\Entity\Produit {#2184
    -id: 686
    -nom: "East Coasting By Charles Mingus"
    -informationComplementaire: ""
    -description: """
      Charles Mingus is usually known for his wild, soulful and avant-garde compositions. "East Coasting" is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as "soulful" in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on "West Coast Ghost" (the album's stand-out track) and "Celia" are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.\r\n
      \r\n
      "East Coasting" sounds like the prototypical 1950s jazz recording. It's something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It's what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly to young people who have just been blown away by Kerouac's novel "On the Road" and have become interested in exploring Jazz. "East Coasting" will allow them to get a taste of lost creative America. - S. Wynn\r\n
      \r\n
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    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Charles Mingus (bass), Clarence Shaw (trumpet), Jimmy Knepper (trombone), Shafi Hadi (tenor & alto saxophone), Bill Evans (piano), Dannie Richmond (drums) "
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=JZIAyh6yiK0"
    -referenceProduit: "Pure Pleasure Records PPAN BCP 6019"
    -titreMorceau: [
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        "ordre" => 5
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        "ordre" => 1
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        "ordre" => 6
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      [
        "nom" => "2. East Coasting"
        "ordre" => 2
      ]
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      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2098 …}
    -style: App\Entity\Style {#1468 …}
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]

App\Twig\Components\GestionPanierFavoriComponents {#3660
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  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2615 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2184
    -id: 686
    -nom: "East Coasting By Charles Mingus"
    -informationComplementaire: ""
    -description: """
      Charles Mingus is usually known for his wild, soulful and avant-garde compositions. "East Coasting" is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as "soulful" in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on "West Coast Ghost" (the album's stand-out track) and "Celia" are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.\r\n
      \r\n
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      \r\n
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Charles Mingus (bass), Clarence Shaw (trumpet), Jimmy Knepper (trombone), Shafi Hadi (tenor & alto saxophone), Bill Evans (piano), Dannie Richmond (drums) "
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -extraitYoutube: "https://www.youtube.com/watch?v=JZIAyh6yiK0"
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    -artiste: App\Entity\Artiste {#1063 …}
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      date: 2019-12-02 07:34:54.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-east-coasting-by-charles-mingus-pure-pleasure-records-ppan-bcp-6019"
  }
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2383 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3852
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2383 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3853 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3901 …}
  +isValidated: false
  +validatedFields: []
}