Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2537
  -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 {#2384 …}
}

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

App\Twig\Components\ListePanier {#2614
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2617 …}
  -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 {#2616 …}
  -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 {#2384 …}
  -formView: Symfony\Component\Form\FormView {#2653 …}
  -form: Symfony\Component\Form\Form {#2803 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 3025
    -nom: "The Best Of Miles Davis"
    -informationComplementaire: "Plongez dans l’âge d’or du jazz avec Miles Davis. Entre 1956 et 1961, le trompettiste redéfinit le son du jazz moderne, entouré des plus grands. Une sélection incontournable, élégante et intemporelle, où chaque note raconte une histoire."
    -description: """
      Cette compilation de Miles Davis rassemble une sélection essentielle d’enregistrements réalisés entre 1956 et 1961, une période considérée comme l’un des sommets de l’histoire du jazz moderne.\r\n
      \r\n
      On y retrouve le célèbre quintet de Miles Davis avec notamment John Coltrane, dans des sessions mythiques pour le label Prestige. Ces morceaux, issus d’albums devenus légendaires "Cookin’, Relaxin’, Workin’, Steamin’", capturent un moment charnière où le bebop évolue vers le hard bop, avec déjà les premières touches du jazz modal.\r\n
      \r\n
      Entre standards revisités "My Funny Valentine, ’Round Midnight" et compositions plus nerveuses "Oleo, Airegin", l’album alterne élégance, tension et liberté. Le jeu de Miles Davis, à la fois sobre et expressif, y impose un style unique, fait de silences maîtrisés et de phrasés inimitables.\r\n
      \r\n
      Une compilation idéale pour découvrir ou redécouvrir l’âge d’or du jazz.\r\n
      \r\n
      The Best Of Miles Davis is a new compilation released to celebrate the legendary jazz trumpeter's centennial in 2026. Designed as an introduction to this influential artist, it covers his prime years between 1956 and 1961, during which time he recorded albums including Workin', Cookin', Steamin' and Relaxin'. The eight cuts included feature " 'Round Midnight", "My Funny Valentine", "Just Squeeze Me (But Don't Tease Me)" and more.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: null
    -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: null
    -referenceProduit: "Concord Craft Recording 1278"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Just Squeeze Me"
      ]
      [
        "ordre" => 2
        "nom" => "2. Oleo"
      ]
      [
        "ordre" => 3
        "nom" => "3. ’Round Midnight"
      ]
      [
        "ordre" => 4
        "nom" => "4. Airegin "
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. My Funny Valentine"
      ]
      [
        "ordre" => 7
        "nom" => "2. Well, You Needn’t"
      ]
      [
        "ordre" => 8
        "nom" => "3. You’re My Everything"
      ]
      [
        "ordre" => 9
        "nom" => "4. Four"
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
    ]
    -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 @1773854451 {#1896
      date: 2026-03-18 17:20:51.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773863978 {#1889
      date: 2026-03-18 19:59:38.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-best-of-miles-davis-concord-craft-recording-1278"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3090
  -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 {#2616 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 3025
    -nom: "The Best Of Miles Davis"
    -informationComplementaire: "Plongez dans l’âge d’or du jazz avec Miles Davis. Entre 1956 et 1961, le trompettiste redéfinit le son du jazz moderne, entouré des plus grands. Une sélection incontournable, élégante et intemporelle, où chaque note raconte une histoire."
    -description: """
      Cette compilation de Miles Davis rassemble une sélection essentielle d’enregistrements réalisés entre 1956 et 1961, une période considérée comme l’un des sommets de l’histoire du jazz moderne.\r\n
      \r\n
      On y retrouve le célèbre quintet de Miles Davis avec notamment John Coltrane, dans des sessions mythiques pour le label Prestige. Ces morceaux, issus d’albums devenus légendaires "Cookin’, Relaxin’, Workin’, Steamin’", capturent un moment charnière où le bebop évolue vers le hard bop, avec déjà les premières touches du jazz modal.\r\n
      \r\n
      Entre standards revisités "My Funny Valentine, ’Round Midnight" et compositions plus nerveuses "Oleo, Airegin", l’album alterne élégance, tension et liberté. Le jeu de Miles Davis, à la fois sobre et expressif, y impose un style unique, fait de silences maîtrisés et de phrasés inimitables.\r\n
      \r\n
      Une compilation idéale pour découvrir ou redécouvrir l’âge d’or du jazz.\r\n
      \r\n
      The Best Of Miles Davis is a new compilation released to celebrate the legendary jazz trumpeter's centennial in 2026. Designed as an introduction to this influential artist, it covers his prime years between 1956 and 1961, during which time he recorded albums including Workin', Cookin', Steamin' and Relaxin'. The eight cuts included feature " 'Round Midnight", "My Funny Valentine", "Just Squeeze Me (But Don't Tease Me)" and more.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: null
    -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: null
    -referenceProduit: "Concord Craft Recording 1278"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Just Squeeze Me"
      ]
      [
        "ordre" => 2
        "nom" => "2. Oleo"
      ]
      [
        "ordre" => 3
        "nom" => "3. ’Round Midnight"
      ]
      [
        "ordre" => 4
        "nom" => "4. Airegin "
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. My Funny Valentine"
      ]
      [
        "ordre" => 7
        "nom" => "2. Well, You Needn’t"
      ]
      [
        "ordre" => 8
        "nom" => "3. You’re My Everything"
      ]
      [
        "ordre" => 9
        "nom" => "4. Four"
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
    ]
    -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 @1773854451 {#1896
      date: 2026-03-18 17:20:51.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773863978 {#1889
      date: 2026-03-18 19:59:38.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-best-of-miles-davis-concord-craft-recording-1278"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2384 …}
}

[
  "produit" => App\Entity\Produit {#2037
    -id: 2955
    -nom: "The Complete Live At The Plugged Nickel 1965 - (Box Set 10 LP + 44 page booklet and new liner notes)"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Legacy Records)"
    -description: """
      - Box Set (10 LP) 140g Black Vinyl !\r\n
      -  Cut from the High-Res Mosaic Masters !\r\n
      -  Mirrors the Original Sequence !\r\n
      - Each LP Housed in Its Own Newly Designed Jacket !\r\n
      - Gold Foil-Embossed Slipcase Box !\r\n
      - 44-Page 12"x12" Smyth Sewn Book with Rare Plugged Nickel Photos, Extensive New Liner Notes, Track-by-Track Commentary by Syd Schwartz & Original Essay by Bob Blumenthal.\r\n
      \r\n
      The most requested Miles Davis reissue arrives for his centennial in spectacular style.\r\n
      \r\n
      What began as a holiday residency at Chicago's Plugged Nickel Café became the crucible where the Second Great Quintet forged its identity. Miles, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams delivered a masterclass in risk and invention, dismantling familiar tunes and rebuilding them on the fly. Producer Teo Macero captured every note across seven sets on December 22 and 23, 1965. Portions trickled out in the '70s and '80s, but only in the early '90s did Legacy (CD) and Mosaic (LP) reveal the full scope of seven and half hours of revelatory music—instantly hailed as one of the greatest live jazz recordings ever, earning the The Penguin Guide to Jazz's coveted "Crown," and becoming pricey, secondary-market rarities. Now, 30 years later and six decades after the shows themselves, veteran fans finally get the repress they've demanded, and new fans get a chance to own one of the most mythologized live engagements in jazz history.\r\n
      \r\n
      This new (10 LP) edition mirrors the original sequence, cut from the high-res Mosaic masters and pressed on 140 gram black vinyl. Each LP comes in its own newly designed jacket, housed in a gold foil-embossed slipcase box. The 44 page 12"x 12" Smyth Sewn book includes rare Plugged Nickel photos and extensive new liner notes and track-by-track commentary by Syd Schwartz alongside Bob Blumenthal's original essay.
      """
    -prixVente: "299.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1135 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 10
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=hpHYZP4hQJI"
    -referenceProduit: "Legacy Records 41241"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "22 décembre 1965, 1st night"
      ]
      [
        "ordre" => 1
        "nom" => "LP 1 – 1ʳᵉ set"
      ]
      [
        "ordre" => 2
        "nom" => "Side A :"
      ]
      [
        "ordre" => 3
        "nom" => "1. If I Were a Bell "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "2. Stella by Starlight "
      ]
      [
        "ordre" => 6
        "nom" => "3. Walkin’"
      ]
      [
        "ordre" => 7
        "nom" => "LP 2 – Fin 1ʳᵉ set & Début 2ᵉ set"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "1. I Fall In Love Too Easily"
      ]
      [
        "ordre" => 10
        "nom" => "2. The Theme"
      ]
      [
        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "3. My Funny Valentine"
      ]
      [
        "ordre" => 13
        "nom" => "LP 3 – 2ᵉ set (suite)"
      ]
      [
        "ordre" => 14
        "nom" => "Side E :"
      ]
      [
        "ordre" => 15
        "nom" => "1. Four "
      ]
      [
        "ordre" => 16
        "nom" => "2. When I Fall In Love"
      ]
      [
        "ordre" => 17
        "nom" => "Side F : "
      ]
      [
        "ordre" => 18
        "nom" => "3. Agitation"
      ]
      [
        "ordre" => 19
        "nom" => "4. ’Round Midnight"
      ]
      [
        "ordre" => 20
        "nom" => "LP 4 – Fin 2ᵉ set & 3ᵉ set (beginning)"
      ]
      [
        "ordre" => 21
        "nom" => "Side G : "
      ]
      [
        "ordre" => 22
        "nom" => "1. Milestones"
      ]
      [
        "ordre" => 23
        "nom" => "2. The Theme"
      ]
      [
        "ordre" => 24
        "nom" => "3. I Fall In Love Too Easily"
      ]
      [
        "ordre" => 25
        "nom" => "Side H :"
      ]
      [
        "ordre" => 26
        "nom" => "4. All Of You"
      ]
      [
        "ordre" => 27
        "nom" => "5. Oleo"
      ]
      [
        "ordre" => 28
        "nom" => "LP 5 – 3ᵉ set (suite)"
      ]
      [
        "ordre" => 29
        "nom" => "Side I : "
      ]
      [
        "ordre" => 30
        "nom" => "1. No Blues"
      ]
      [
        "ordre" => 31
        "nom" => "Side J : "
      ]
      [
        "ordre" => 32
        "nom" => "2. I Thought About You"
      ]
      [
        "ordre" => 33
        "nom" => "3. The Theme"
      ]
      [
        "ordre" => 34
        "nom" => "23 décembre 1965 – 2nd night"
      ]
      [
        "ordre" => 35
        "nom" => "LP 6 – 1ʳᵉ set"
      ]
      [
        "ordre" => 36
        "nom" => "Side K :"
      ]
      [
        "ordre" => 37
        "nom" => "1. If I Were A Bell"
      ]
      [
        "ordre" => 38
        "nom" => "2. Stella By Starlight"
      ]
      [
        "ordre" => 39
        "nom" => "Side L :"
      ]
      [
        "ordre" => 40
        "nom" => "3. Walkin’ "
      ]
      [
        "ordre" => 41
        "nom" => "4. I Fall In Love Too Easily"
      ]
      [
        "ordre" => 42
        "nom" => "5. The Theme"
      ]
      [
        "ordre" => 43
        "nom" => "LP 7 – 2ᵉ set"
      ]
      [
        "ordre" => 44
        "nom" => "Side M :"
      ]
      [
        "ordre" => 45
        "nom" => "1. All Of You"
      ]
      [
        "ordre" => 46
        "nom" => "2. Agitation"
      ]
      [
        "ordre" => 47
        "nom" => "Side N :"
      ]
      [
        "ordre" => 48
        "nom" => "3. My Funny Valentine"
      ]
      [
        "ordre" => 49
        "nom" => "4. On Green Dolphin Street"
      ]
      [
        "ordre" => 50
        "nom" => "LP 8 – 2nd set (suite) / 3rd set (beginning)"
      ]
      [
        "ordre" => 51
        "nom" => "Side O :"
      ]
      [
        "ordre" => 52
        "nom" => "1. So What"
      ]
      [
        "ordre" => 53
        "nom" => "2. The Theme"
      ]
      [
        "ordre" => 54
        "nom" => "Side P :"
      ]
      [
        "ordre" => 55
        "nom" => "3. When I Fall In Love"
      ]
      [
        "ordre" => 56
        "nom" => "4. Milestones"
      ]
      [
        "ordre" => 57
        "nom" => "LP 9 – 3rd set (end)"
      ]
      [
        "ordre" => 58
        "nom" => "Side Q :"
      ]
      [
        "ordre" => 59
        "nom" => "1. Autumn Leaves"
      ]
      [
        "ordre" => 60
        "nom" => "2. I Fall In Love Too Easily"
      ]
      [
        "ordre" => 61
        "nom" => "Side R :"
      ]
      [
        "ordre" => 62
        "nom" => "3. No Blues"
      ]
      [
        "ordre" => 63
        "nom" => "4. The Theme"
      ]
      [
        "ordre" => 64
        "nom" => "LP 10 – 4th set (final)"
      ]
      [
        "ordre" => 65
        "nom" => "Side S :"
      ]
      [
        "ordre" => 66
        "nom" => "1. Stella By Starlight"
      ]
      [
        "ordre" => 67
        "nom" => "2. All Blues"
      ]
      [
        "ordre" => 68
        "nom" => "Side T :"
      ]
      [
        "ordre" => 69
        "nom" => "3. Yesterdays"
      ]
      [
        "ordre" => 70
        "nom" => "4. The Theme"
      ]
      [
        "ordre" => 71
        "nom" => ""
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2039 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2048 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2041 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2043 …}
    -enregistreLe: DateTime @1768931418 {#2033
      date: 2026-01-20 17:50:18.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1768935165 {#2032
      date: 2026-01-20 18:52:45.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2045 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-complete-live-at-the-plugged-nickel-1965-box-set-10-lp-44-page-booklet-and-new-liner-notes-legacy-records-41241"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3181
  -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 {#2616 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2037
    -id: 2955
    -nom: "The Complete Live At The Plugged Nickel 1965 - (Box Set 10 LP + 44 page booklet and new liner notes)"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Legacy Records)"
    -description: """
      - Box Set (10 LP) 140g Black Vinyl !\r\n
      -  Cut from the High-Res Mosaic Masters !\r\n
      -  Mirrors the Original Sequence !\r\n
      - Each LP Housed in Its Own Newly Designed Jacket !\r\n
      - Gold Foil-Embossed Slipcase Box !\r\n
      - 44-Page 12"x12" Smyth Sewn Book with Rare Plugged Nickel Photos, Extensive New Liner Notes, Track-by-Track Commentary by Syd Schwartz & Original Essay by Bob Blumenthal.\r\n
      \r\n
      The most requested Miles Davis reissue arrives for his centennial in spectacular style.\r\n
      \r\n
      What began as a holiday residency at Chicago's Plugged Nickel Café became the crucible where the Second Great Quintet forged its identity. Miles, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams delivered a masterclass in risk and invention, dismantling familiar tunes and rebuilding them on the fly. Producer Teo Macero captured every note across seven sets on December 22 and 23, 1965. Portions trickled out in the '70s and '80s, but only in the early '90s did Legacy (CD) and Mosaic (LP) reveal the full scope of seven and half hours of revelatory music—instantly hailed as one of the greatest live jazz recordings ever, earning the The Penguin Guide to Jazz's coveted "Crown," and becoming pricey, secondary-market rarities. Now, 30 years later and six decades after the shows themselves, veteran fans finally get the repress they've demanded, and new fans get a chance to own one of the most mythologized live engagements in jazz history.\r\n
      \r\n
      This new (10 LP) edition mirrors the original sequence, cut from the high-res Mosaic masters and pressed on 140 gram black vinyl. Each LP comes in its own newly designed jacket, housed in a gold foil-embossed slipcase box. The 44 page 12"x 12" Smyth Sewn book includes rare Plugged Nickel photos and extensive new liner notes and track-by-track commentary by Syd Schwartz alongside Bob Blumenthal's original essay.
      """
    -prixVente: "299.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1135 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 10
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=hpHYZP4hQJI"
    -referenceProduit: "Legacy Records 41241"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "22 décembre 1965, 1st night"
      ]
      [
        "ordre" => 1
        "nom" => "LP 1 – 1ʳᵉ set"
      ]
      [
        "ordre" => 2
        "nom" => "Side A :"
      ]
      [
        "ordre" => 3
        "nom" => "1. If I Were a Bell "
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "2. Stella by Starlight "
      ]
      [
        "ordre" => 6
        "nom" => "3. Walkin’"
      ]
      [
        "ordre" => 7
        "nom" => "LP 2 – Fin 1ʳᵉ set & Début 2ᵉ set"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "1. I Fall In Love Too Easily"
      ]
      [
        "ordre" => 10
        "nom" => "2. The Theme"
      ]
      [
        "ordre" => 11
        "nom" => "Side D : "
      ]
      [
        "ordre" => 12
        "nom" => "3. My Funny Valentine"
      ]
      [
        "ordre" => 13
        "nom" => "LP 3 – 2ᵉ set (suite)"
      ]
      [
        "ordre" => 14
        "nom" => "Side E :"
      ]
      [
        "ordre" => 15
        "nom" => "1. Four "
      ]
      [
        "ordre" => 16
        "nom" => "2. When I Fall In Love"
      ]
      [
        "ordre" => 17
        "nom" => "Side F : "
      ]
      [
        "ordre" => 18
        "nom" => "3. Agitation"
      ]
      [
        "ordre" => 19
        "nom" => "4. ’Round Midnight"
      ]
      [
        "ordre" => 20
        "nom" => "LP 4 – Fin 2ᵉ set & 3ᵉ set (beginning)"
      ]
      [
        "ordre" => 21
        "nom" => "Side G : "
      ]
      [
        "ordre" => 22
        "nom" => "1. Milestones"
      ]
      [
        "ordre" => 23
        "nom" => "2. The Theme"
      ]
      [
        "ordre" => 24
        "nom" => "3. I Fall In Love Too Easily"
      ]
      [
        "ordre" => 25
        "nom" => "Side H :"
      ]
      [
        "ordre" => 26
        "nom" => "4. All Of You"
      ]
      [
        "ordre" => 27
        "nom" => "5. Oleo"
      ]
      [
        "ordre" => 28
        "nom" => "LP 5 – 3ᵉ set (suite)"
      ]
      [
        "ordre" => 29
        "nom" => "Side I : "
      ]
      [
        "ordre" => 30
        "nom" => "1. No Blues"
      ]
      [
        "ordre" => 31
        "nom" => "Side J : "
      ]
      [
        "ordre" => 32
        "nom" => "2. I Thought About You"
      ]
      [
        "ordre" => 33
        "nom" => "3. The Theme"
      ]
      [
        "ordre" => 34
        "nom" => "23 décembre 1965 – 2nd night"
      ]
      [
        "ordre" => 35
        "nom" => "LP 6 – 1ʳᵉ set"
      ]
      [
        "ordre" => 36
        "nom" => "Side K :"
      ]
      [
        "ordre" => 37
        "nom" => "1. If I Were A Bell"
      ]
      [
        "ordre" => 38
        "nom" => "2. Stella By Starlight"
      ]
      [
        "ordre" => 39
        "nom" => "Side L :"
      ]
      [
        "ordre" => 40
        "nom" => "3. Walkin’ "
      ]
      [
        "ordre" => 41
        "nom" => "4. I Fall In Love Too Easily"
      ]
      [
        "ordre" => 42
        "nom" => "5. The Theme"
      ]
      [
        "ordre" => 43
        "nom" => "LP 7 – 2ᵉ set"
      ]
      [
        "ordre" => 44
        "nom" => "Side M :"
      ]
      [
        "ordre" => 45
        "nom" => "1. All Of You"
      ]
      [
        "ordre" => 46
        "nom" => "2. Agitation"
      ]
      [
        "ordre" => 47
        "nom" => "Side N :"
      ]
      [
        "ordre" => 48
        "nom" => "3. My Funny Valentine"
      ]
      [
        "ordre" => 49
        "nom" => "4. On Green Dolphin Street"
      ]
      [
        "ordre" => 50
        "nom" => "LP 8 – 2nd set (suite) / 3rd set (beginning)"
      ]
      [
        "ordre" => 51
        "nom" => "Side O :"
      ]
      [
        "ordre" => 52
        "nom" => "1. So What"
      ]
      [
        "ordre" => 53
        "nom" => "2. The Theme"
      ]
      [
        "ordre" => 54
        "nom" => "Side P :"
      ]
      [
        "ordre" => 55
        "nom" => "3. When I Fall In Love"
      ]
      [
        "ordre" => 56
        "nom" => "4. Milestones"
      ]
      [
        "ordre" => 57
        "nom" => "LP 9 – 3rd set (end)"
      ]
      [
        "ordre" => 58
        "nom" => "Side Q :"
      ]
      [
        "ordre" => 59
        "nom" => "1. Autumn Leaves"
      ]
      [
        "ordre" => 60
        "nom" => "2. I Fall In Love Too Easily"
      ]
      [
        "ordre" => 61
        "nom" => "Side R :"
      ]
      [
        "ordre" => 62
        "nom" => "3. No Blues"
      ]
      [
        "ordre" => 63
        "nom" => "4. The Theme"
      ]
      [
        "ordre" => 64
        "nom" => "LP 10 – 4th set (final)"
      ]
      [
        "ordre" => 65
        "nom" => "Side S :"
      ]
      [
        "ordre" => 66
        "nom" => "1. Stella By Starlight"
      ]
      [
        "ordre" => 67
        "nom" => "2. All Blues"
      ]
      [
        "ordre" => 68
        "nom" => "Side T :"
      ]
      [
        "ordre" => 69
        "nom" => "3. Yesterdays"
      ]
      [
        "ordre" => 70
        "nom" => "4. The Theme"
      ]
      [
        "ordre" => 71
        "nom" => ""
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2039 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2048 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2041 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2043 …}
    -enregistreLe: DateTime @1768931418 {#2033
      date: 2026-01-20 17:50:18.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1768935165 {#2032
      date: 2026-01-20 18:52:45.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2045 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-complete-live-at-the-plugged-nickel-1965-box-set-10-lp-44-page-booklet-and-new-liner-notes-legacy-records-41241"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2384 …}
}

[
  "produit" => App\Entity\Produit {#2055
    -id: 2184
    -nom: "Sketches of spain - UltraDisc One-Step (Box Set 2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba), James Buffington (fender Rhodes, french Horn), Eddie Caine (flugelhorn, flute), Paul Chambers (bass), Johnny Coles, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal (trumpet), Harold Feldman (clarinet, flute, oboe), Dick Hixon, Frank Rehak (trombone), Elvin Jones, Jose Mangual (percussion), Jack Knitzer (bassoon), Romeo Penque (oboe), Janet Putnam (harp), Jimmy cobb (drums).\r\n
      \r\n
      DEFINITIVE MOBILE FIDELITY ULTRADISC ONE-STEP SET INCLUDES OPULENT BOX, FOIL-STAMPED JACKETS, AND MOFI SUPERVINYL LPS PRESSED AT RTI !\r\n
      \r\n
      Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' increasingly lyrical methods in a tender ceremony that resonates more than six decades after its original release.\r\n
      \r\n
      A crucial part of the next phase of Mobile Fidelity's Miles Davis restoration series, the 1960 landmark has been afforded the ultimate white-gloves treatment. Mastered from the original master tapes and pressed on dead-quiet MoFi SuperVinyl at RTI, the label's exquisite UltraDisc One-Step 45 RPM 180 gram 2 LP box set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. Listeners can now hear the full perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with unprecedented definition and detail.\r\n
      \r\n
      The premium packaging and beautiful presentation of the numbered, limited-edition UD1S Sketches of Spain pressing befit the record's historical importance. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP. Aurally and visually, this UD1S set exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain ?\r\n
      \r\n
      Whether it is the somber mood piece "Concierto de Aranjuez (Adagio)", renowned for Davis' flugelhorn performance, or the folktale-based "Solea", Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took every available measure to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18 piece orchestra. The results are as breathtaking as the music.\r\n
      \r\n
      Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain : color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues in the 21st century to draw praise from the entire music community.\r\n
      \r\n
      Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken" jazz in a new direction, the Grammy Award-winning effort has never sounded or looked better.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=qljvoFTcNrg"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-038"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Concierto de Aranjuez (Adagio)"
      ]
      [
        "ordre" => 1
        "nom" => "2. Will O' the Wisp"
      ]
      [
        "ordre" => 2
        "nom" => "3. The Pan Piper"
      ]
      [
        "ordre" => 3
        "nom" => "4. Saeta"
      ]
      [
        "ordre" => 4
        "nom" => "5. Solea"
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2057 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2066 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2059 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
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    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2061 …}
    -enregistreLe: DateTime @1640898569 {#2051
      date: 2021-12-30 21:09:29.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767219175 {#2050
      date: 2025-12-31 22:12:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2063 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-sketches-of-spain-ultradisc-one-step-box-set-2-lp-45-rpm-mobile-fidelity-sound-lab-ud1s-038"
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  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3229
  -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 {#2616 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2055
    -id: 2184
    -nom: "Sketches of spain - UltraDisc One-Step (Box Set 2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba), James Buffington (fender Rhodes, french Horn), Eddie Caine (flugelhorn, flute), Paul Chambers (bass), Johnny Coles, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal (trumpet), Harold Feldman (clarinet, flute, oboe), Dick Hixon, Frank Rehak (trombone), Elvin Jones, Jose Mangual (percussion), Jack Knitzer (bassoon), Romeo Penque (oboe), Janet Putnam (harp), Jimmy cobb (drums).\r\n
      \r\n
      DEFINITIVE MOBILE FIDELITY ULTRADISC ONE-STEP SET INCLUDES OPULENT BOX, FOIL-STAMPED JACKETS, AND MOFI SUPERVINYL LPS PRESSED AT RTI !\r\n
      \r\n
      Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' increasingly lyrical methods in a tender ceremony that resonates more than six decades after its original release.\r\n
      \r\n
      A crucial part of the next phase of Mobile Fidelity's Miles Davis restoration series, the 1960 landmark has been afforded the ultimate white-gloves treatment. Mastered from the original master tapes and pressed on dead-quiet MoFi SuperVinyl at RTI, the label's exquisite UltraDisc One-Step 45 RPM 180 gram 2 LP box set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. Listeners can now hear the full perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with unprecedented definition and detail.\r\n
      \r\n
      The premium packaging and beautiful presentation of the numbered, limited-edition UD1S Sketches of Spain pressing befit the record's historical importance. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP. Aurally and visually, this UD1S set exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain ?\r\n
      \r\n
      Whether it is the somber mood piece "Concierto de Aranjuez (Adagio)", renowned for Davis' flugelhorn performance, or the folktale-based "Solea", Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took every available measure to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18 piece orchestra. The results are as breathtaking as the music.\r\n
      \r\n
      Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain : color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues in the 21st century to draw praise from the entire music community.\r\n
      \r\n
      Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken" jazz in a new direction, the Grammy Award-winning effort has never sounded or looked better.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=qljvoFTcNrg"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-038"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Concierto de Aranjuez (Adagio)"
      ]
      [
        "ordre" => 1
        "nom" => "2. Will O' the Wisp"
      ]
      [
        "ordre" => 2
        "nom" => "3. The Pan Piper"
      ]
      [
        "ordre" => 3
        "nom" => "4. Saeta"
      ]
      [
        "ordre" => 4
        "nom" => "5. Solea"
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2057 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2066 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2059 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2061 …}
    -enregistreLe: DateTime @1640898569 {#2051
      date: 2021-12-30 21:09:29.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767219175 {#2050
      date: 2025-12-31 22:12:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2063 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-sketches-of-spain-ultradisc-one-step-box-set-2-lp-45-rpm-mobile-fidelity-sound-lab-ud1s-038"
  }
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2384 …}
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[
  "produit" => App\Entity\Produit {#2071
    -id: 1620
    -nom: "Kind of Blue  (45 RPM 200 Gram Clarity Vinyl)"
    -informationComplementaire: null
    -description: """
      - Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl !\r\n
      - Definitive limited run reissue Ultra High Quality Record !\r\n
      - 45 RPM double LP release limited to 25000 copies !\r\n
      - Best-selling album in jazz history; mastered by Bernie Grundman from the original 3 track master tapes !\r\n
      - Pressed at Quality Record Pressings using Clarity Vinyl !\r\n
      - Purest possible pressing and most visually stunning presentation and packaging !\r\n
      - Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history !\r\n
      - Video Should New Vinyl Collectors Buy the 45 RPM UHQR Miles Davis Kind of Blue ? Click here !\r\n
      \r\n
      "Kassem's new edition-also stamped in an edition of 25000 is from the same master, pressed on the same type of vinyl (but not "hand pressed" this time, which actually results in greater pressing consistency, plus now there's a good chance everyone who orders will get their copy in a reasonable time period), packed in the same fancy box. The only difference is that the music is on two LPs, cut at 45 RPM, meaning the grooves are much wider. All things equal, this should make for finer detail, an airier ambience, more lifelike sound generally. And that's what you get here. Take the passage from my Stereophile review and step it up a few notches: "finer touches... even more stunningly clear...still more layers...the ecstatic beauty..." Everything is more present, more brassy, woody, or metallic, depending on the instrument. There's a more palpable sense of a human being blowing through a mouthpiece, plucking a string, coaxing a keyboard, or tapping a snare drum. There is more of a sense that you are with the musicians in the studio. In short, take any account you've read-or any memory you treasure-of this album's sonic glories, and embellish every admiring adjective with more, more, better, better." - Music = 11/11; Sound = 11/11 Fred Kaplan, TrackingAngle.com. To read Kaplan's full review, click here.\r\n
      \r\n
      Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording a five track masterpiece of melancholy mood and melody.\r\n
      \r\n
      It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wynton Kelly playing piano on "Freddy the Freeloader."\r\n
      \r\n
      Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Kind of Blue where it belongs : the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of every single record.\r\n
      \r\n
      The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.\r\n
      \r\n
      For this 45 RPM 2 LP edition we've set the bar for excellence higher. Lifelike distinct detail that was palpable enough in 33 1/3 RPM is holographic at 45. Four glorious sides of 200 gram vinyl from QRP, the best presser in the business, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. There's also a 20 page booklet with updated session photos and liner notes by Robert Palmer and Ashley Kahn. Plus, we've included photos of legendary mastering engineer Bernie Grundman's mastering notes from this release.\r\n
      \r\n
      Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick", Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them". Kind of Blue is, in a sense, all melody and atmosphere.\r\n
      \r\n
      None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.\r\n
      \r\n
      Miles remained proud of the album, performing at least two of its tracks "So What" and "All Blues" for years after, until his musical path took him in a different direction.\r\n
      \r\n
      History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.\r\n
      \r\n
      A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3 track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What", "Freddie Freeloader" and "Blue in Green", making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records or their latter-day parent, Sony Music on a CD reissue in the late '90s.\r\n
      \r\n
      Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Julian "Cannonball" Adderley (alto sax), John Coltrane (tenor sax), Paul Chambers (double bass), Bill Evan, Wynton Kelly (piano), Jimmy Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=TpMzD8Q1fQg&list=RDTpMzD8Q1fQg&start_radio=1"
    -referenceProduit: "Analogue Productions AUHQR 0004-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. So What"
      ]
      [
        "ordre" => 2
        "nom" => "Side B : "
      ]
      [
        "ordre" => 3
        "nom" => "1. Freddie Freeloader"
      ]
      [
        "ordre" => 4
        "nom" => "2. Blue In Green"
      ]
      [
        "ordre" => 5
        "nom" => "Side C : "
      ]
      [
        "ordre" => 6
        "nom" => "1. All Blues"
      ]
      [
        "ordre" => 7
        "nom" => "Side D : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Flamenco Sketches"
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2073 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2082 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2075 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2077 …}
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      date: 2019-03-28 09:05:42.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767217283 {#2069
      date: 2025-12-31 21:41:23.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2079 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-kind-of-blue-45-rpm-200-gram-clarity-vinyl-analogue-productions-auhqr-0004-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3277
  -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 {#2616 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2071
    -id: 1620
    -nom: "Kind of Blue  (45 RPM 200 Gram Clarity Vinyl)"
    -informationComplementaire: null
    -description: """
      - Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl !\r\n
      - Definitive limited run reissue Ultra High Quality Record !\r\n
      - 45 RPM double LP release limited to 25000 copies !\r\n
      - Best-selling album in jazz history; mastered by Bernie Grundman from the original 3 track master tapes !\r\n
      - Pressed at Quality Record Pressings using Clarity Vinyl !\r\n
      - Purest possible pressing and most visually stunning presentation and packaging !\r\n
      - Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history !\r\n
      - Video Should New Vinyl Collectors Buy the 45 RPM UHQR Miles Davis Kind of Blue ? Click here !\r\n
      \r\n
      "Kassem's new edition-also stamped in an edition of 25000 is from the same master, pressed on the same type of vinyl (but not "hand pressed" this time, which actually results in greater pressing consistency, plus now there's a good chance everyone who orders will get their copy in a reasonable time period), packed in the same fancy box. The only difference is that the music is on two LPs, cut at 45 RPM, meaning the grooves are much wider. All things equal, this should make for finer detail, an airier ambience, more lifelike sound generally. And that's what you get here. Take the passage from my Stereophile review and step it up a few notches: "finer touches... even more stunningly clear...still more layers...the ecstatic beauty..." Everything is more present, more brassy, woody, or metallic, depending on the instrument. There's a more palpable sense of a human being blowing through a mouthpiece, plucking a string, coaxing a keyboard, or tapping a snare drum. There is more of a sense that you are with the musicians in the studio. In short, take any account you've read-or any memory you treasure-of this album's sonic glories, and embellish every admiring adjective with more, more, better, better." - Music = 11/11; Sound = 11/11 Fred Kaplan, TrackingAngle.com. To read Kaplan's full review, click here.\r\n
      \r\n
      Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording a five track masterpiece of melancholy mood and melody.\r\n
      \r\n
      It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wynton Kelly playing piano on "Freddy the Freeloader."\r\n
      \r\n
      Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Kind of Blue where it belongs : the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of every single record.\r\n
      \r\n
      The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.\r\n
      \r\n
      For this 45 RPM 2 LP edition we've set the bar for excellence higher. Lifelike distinct detail that was palpable enough in 33 1/3 RPM is holographic at 45. Four glorious sides of 200 gram vinyl from QRP, the best presser in the business, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. There's also a 20 page booklet with updated session photos and liner notes by Robert Palmer and Ashley Kahn. Plus, we've included photos of legendary mastering engineer Bernie Grundman's mastering notes from this release.\r\n
      \r\n
      Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick", Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them". Kind of Blue is, in a sense, all melody and atmosphere.\r\n
      \r\n
      None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.\r\n
      \r\n
      Miles remained proud of the album, performing at least two of its tracks "So What" and "All Blues" for years after, until his musical path took him in a different direction.\r\n
      \r\n
      History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.\r\n
      \r\n
      A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3 track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What", "Freddie Freeloader" and "Blue in Green", making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records or their latter-day parent, Sony Music on a CD reissue in the late '90s.\r\n
      \r\n
      Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Julian "Cannonball" Adderley (alto sax), John Coltrane (tenor sax), Paul Chambers (double bass), Bill Evan, Wynton Kelly (piano), Jimmy Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=TpMzD8Q1fQg&list=RDTpMzD8Q1fQg&start_radio=1"
    -referenceProduit: "Analogue Productions AUHQR 0004-45"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A : "
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      [
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        "nom" => "1. So What"
      ]
      [
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        "nom" => "Side B : "
      ]
      [
        "ordre" => 3
        "nom" => "1. Freddie Freeloader"
      ]
      [
        "ordre" => 4
        "nom" => "2. Blue In Green"
      ]
      [
        "ordre" => 5
        "nom" => "Side C : "
      ]
      [
        "ordre" => 6
        "nom" => "1. All Blues"
      ]
      [
        "ordre" => 7
        "nom" => "Side D : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Flamenco Sketches"
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2073 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2082 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2075 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2077 …}
    -enregistreLe: DateTime @1553763942 {#2068
      date: 2019-03-28 09:05:42.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767217283 {#2069
      date: 2025-12-31 21:41:23.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2079 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-kind-of-blue-45-rpm-200-gram-clarity-vinyl-analogue-productions-auhqr-0004-45"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2384 …}
}

[
  "produit" => App\Entity\Produit {#2087
    -id: 893
    -nom: "A Tribute To Jack Johnson"
    -informationComplementaire: null
    -description: """
      - The “Greatest Rock and Roll Band You Have Ever Heard”, Miles Davis, John McLaughlin, and Co. Merge Electric Fusion and Defiant Rock on the Funky, Freeing A Tribute to Jack Johnson.\r\n
      - Mobile Fidelity's Numbered-Edition 180 gram 33 RPM (1 LP) Plays with Lean, Stripped-Back Sound and Startling Immediacy !\r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard" as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. \r\n
      \r\n
      Sourced from the original analog master tapes and pressed at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180 gram 33 RPM (1 LP) reissue brings it all to fore. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences longtime fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires. \r\n
      \r\n
      Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin's ripping performances, Mobile Fidelity's 180g LP showcases the headliner's white-hot trumpet solos like never before. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimensional bass lines emerge amidst an ink-black background.\r\n
      \r\n
      The least-well known true masterpiece of Davis' career, the 1971 record – like Bitches Brew, seamlessly assembled from sessions by producer Ted Macero was a victim of scant promotion. But to those that heard it, among them critic/musician Robert Quine and renowned writer Robert Christgau, A Tribute to Jack Johnson surpasses everything that came before. Davis treated it as a personal manifesto: An opportunity to salute the championship boxer admired for his threatening image to the establishment and taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson a stance revealed in the music, which simultaneously hits with a prize fighter's brutal force and reflects the graceful elegance with which a pugilist navigates the ring.\r\n
      \r\n
      Producer and journalist Michael Cuscuna may have summed up the record's significance in 2003 : "The dense textures introduced and developed the prior fall on the Bitches Brew recording sessions gave way to a lean, stripped-down, guitar-heavy sound. There was now only one drummer, and that kept the groove more pronounced and defined. The three-keyboard configuration appears only on the last session; the rest have none, one, or two, and they are used sparingly".\r\n
      \r\n
      By any measure, A Tribute to Jack Johnson is a monster album. Experience it the way Davis would've wanted you to hear it.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), John McLaughlin (guitar), Herbie Hancock (keyboards), Michael Henderson (bass Fender), Steve Grossman (saxophone), Brock Peters (voice), Billy Cobham (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=DEBKksupBVA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-440"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Right Off"
      ]
      [
        "ordre" => 2
        "nom" => "Side B :"
      ]
      [
        "ordre" => 3
        "nom" => "2. Yesternow"
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2057 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2095 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2088 …}
    -typeMasterTape: null
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    -adresseInternetTest: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2090 …}
    -enregistreLe: DateTime @1458305108 {#2084
      date: 2016-03-18 12:45:08.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767215520 {#2085
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  +produit: App\Entity\Produit {#2087
    -id: 893
    -nom: "A Tribute To Jack Johnson"
    -informationComplementaire: null
    -description: """
      - The “Greatest Rock and Roll Band You Have Ever Heard”, Miles Davis, John McLaughlin, and Co. Merge Electric Fusion and Defiant Rock on the Funky, Freeing A Tribute to Jack Johnson.\r\n
      - Mobile Fidelity's Numbered-Edition 180 gram 33 RPM (1 LP) Plays with Lean, Stripped-Back Sound and Startling Immediacy !\r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard" as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. \r\n
      \r\n
      Sourced from the original analog master tapes and pressed at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180 gram 33 RPM (1 LP) reissue brings it all to fore. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences longtime fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires. \r\n
      \r\n
      Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin's ripping performances, Mobile Fidelity's 180g LP showcases the headliner's white-hot trumpet solos like never before. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimensional bass lines emerge amidst an ink-black background.\r\n
      \r\n
      The least-well known true masterpiece of Davis' career, the 1971 record – like Bitches Brew, seamlessly assembled from sessions by producer Ted Macero was a victim of scant promotion. But to those that heard it, among them critic/musician Robert Quine and renowned writer Robert Christgau, A Tribute to Jack Johnson surpasses everything that came before. Davis treated it as a personal manifesto: An opportunity to salute the championship boxer admired for his threatening image to the establishment and taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson a stance revealed in the music, which simultaneously hits with a prize fighter's brutal force and reflects the graceful elegance with which a pugilist navigates the ring.\r\n
      \r\n
      Producer and journalist Michael Cuscuna may have summed up the record's significance in 2003 : "The dense textures introduced and developed the prior fall on the Bitches Brew recording sessions gave way to a lean, stripped-down, guitar-heavy sound. There was now only one drummer, and that kept the groove more pronounced and defined. The three-keyboard configuration appears only on the last session; the rest have none, one, or two, and they are used sparingly".\r\n
      \r\n
      By any measure, A Tribute to Jack Johnson is a monster album. Experience it the way Davis would've wanted you to hear it.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=DEBKksupBVA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-440"
    -titreMorceau: [
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        "nom" => "1. Right Off"
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        "nom" => "Side B :"
      ]
      [
        "ordre" => 3
        "nom" => "2. Yesternow"
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2057 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2095 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2088 …}
    -typeMasterTape: null
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    -slug: "vinyles-a-tribute-to-jack-johnson-mobile-fidelity-sound-lab-mfsl-1-440"
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[
  "produit" => App\Entity\Produit {#2100
    -id: 2185
    -nom: "Bitches Brew - UltraDisc One-Step (Box Set 2 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano), Jim Riley (percussion), Charles Alias, Jack DeJohnette, Lenny White (drums).\r\n
      \r\n
      THE AURAL MOUNT RUSHMORE OF JAZZ FUSION: MASTERED FROM THE ORIGINAL MASTER TAPES, PRESSED AT RTI ON MOFI SUPERVINYL, AND HOUSED IN A LAVISH BOX !\r\n
      \r\n
      "Listen to This". As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than 50 years later, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity's UltraDisc One-Step 180 gram 2 LP vinyl box set.\r\n
      \r\n
      Mastered from the original master tapes, pressed on MoFi SuperVinyl at RTI, and strictly numbered and limited, this definitive reissue enhances every element of a double album that established new possibilities for studio recording techniques. You'll hear wider and deeper soundstages, more separation between instruments, and a drastically broadened dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.\r\n
      \r\n
      Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Here, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint abstract canvases on par with those of Axis : Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.\r\n
      \r\n
      Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew pressing befit such 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 is spared. Aurally and visually, it exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything surrounding the album, from the images to the finishes. And this is one effort where every last detail matters.\r\n
      Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard" on Bitches Brew. Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.\r\n
      \r\n
      Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love." The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought the very principles with which Davis conceived the everlasting beauty and fascination that remains Bitches Brew.\r\n
      Don't miss the rare opportunity to experience the album at its full potential, a dream fully realized by Mobile Fidelity.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=vUVXMWOWaS8"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-039"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Pharaoh's Dance"
      ]
      [
        "ordre" => 1
        "nom" => "2. Bitches Brew"
      ]
      [
        "ordre" => 2
        "nom" => "3. Spanish Key"
      ]
      [
        "ordre" => 3
        "nom" => "4. John McLaughlin"
      ]
      [
        "ordre" => 4
        "nom" => "5. Miles Runs the Voodoo Down"
      ]
      [
        "ordre" => 5
        "nom" => "6. Sanctuary"
      ]
      [
        "ordre" => 6
        "nom" => "Side A :"
      ]
      [
        "ordre" => 7
        "nom" => "Side B :"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2057 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2108 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2101 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2103 …}
    -enregistreLe: DateTime @1640935072 {#2097
      date: 2021-12-31 07:17:52.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767215067 {#2098
      date: 2025-12-31 21:04:27.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2105 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-bitches-brew-ultradisc-one-step-box-set-2-lp-33-rpm-mobile-fidelity-sound-lab-ud1s-039"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3373
  -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 {#2616 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2100
    -id: 2185
    -nom: "Bitches Brew - UltraDisc One-Step (Box Set 2 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano), Jim Riley (percussion), Charles Alias, Jack DeJohnette, Lenny White (drums).\r\n
      \r\n
      THE AURAL MOUNT RUSHMORE OF JAZZ FUSION: MASTERED FROM THE ORIGINAL MASTER TAPES, PRESSED AT RTI ON MOFI SUPERVINYL, AND HOUSED IN A LAVISH BOX !\r\n
      \r\n
      "Listen to This". As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than 50 years later, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity's UltraDisc One-Step 180 gram 2 LP vinyl box set.\r\n
      \r\n
      Mastered from the original master tapes, pressed on MoFi SuperVinyl at RTI, and strictly numbered and limited, this definitive reissue enhances every element of a double album that established new possibilities for studio recording techniques. You'll hear wider and deeper soundstages, more separation between instruments, and a drastically broadened dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.\r\n
      \r\n
      Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Here, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint abstract canvases on par with those of Axis : Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.\r\n
      \r\n
      Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew pressing befit such 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 is spared. Aurally and visually, it exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything surrounding the album, from the images to the finishes. And this is one effort where every last detail matters.\r\n
      Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard" on Bitches Brew. Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.\r\n
      \r\n
      Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love." The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought the very principles with which Davis conceived the everlasting beauty and fascination that remains Bitches Brew.\r\n
      Don't miss the rare opportunity to experience the album at its full potential, a dream fully realized by Mobile Fidelity.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=vUVXMWOWaS8"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-039"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Pharaoh's Dance"
      ]
      [
        "ordre" => 1
        "nom" => "2. Bitches Brew"
      ]
      [
        "ordre" => 2
        "nom" => "3. Spanish Key"
      ]
      [
        "ordre" => 3
        "nom" => "4. John McLaughlin"
      ]
      [
        "ordre" => 4
        "nom" => "5. Miles Runs the Voodoo Down"
      ]
      [
        "ordre" => 5
        "nom" => "6. Sanctuary"
      ]
      [
        "ordre" => 6
        "nom" => "Side A :"
      ]
      [
        "ordre" => 7
        "nom" => "Side B :"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2057 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2108 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2101 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2103 …}
    -enregistreLe: DateTime @1640935072 {#2097
      date: 2021-12-31 07:17:52.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767215067 {#2098
      date: 2025-12-31 21:04:27.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2105 …}
    -disponible: null
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    -slug: "vinyles-bitches-brew-ultradisc-one-step-box-set-2-lp-33-rpm-mobile-fidelity-sound-lab-ud1s-039"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2384 …}
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[
  "produit" => App\Entity\Produit {#2113
    -id: 264
    -nom: "Volume 3 (LP 10')"
    -informationComplementaire: "Last copy in stock !"
    -description: """
      Recorded at Rudy Van Gelder's studio on March 6, 1954, this was the emerging trumpeter's third session recorded for Blue Note. Originally released on a 10" pressing (BLP-5040), Classic Records is proud to once again make this collectable available in this original format. \r\n
      \r\n
      With the assistance of EMI / Blue Note, Classic has been given access to recently discovered original source materials on the Blue Note sessions and along with the upgraded sound, has painstakingly worked to deliver a high-quality 10" pressing and also faithfully reproduce the original 10" jacket. \r\n
      \r\n
      Original 1954 first pressings in mint condition have been known to bring a minimum of $ 300 on the collector's market. The set features the leader Miles with some of his finest playing. His support includes Horace Silver on piano, Percy Heath on bass and Art Blakey behind the drums. \r\n
      \r\n
      The original six selections include "Take Off", Lazy Susan", "The Leap", "Well You Needn't", "Weirdo" and "It Never Entered My Mind".
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1878 …}
    -musicienOrchestre: "Miles Davis (trumpet), Horace Silver (piano), Percy Heath (bass), Art Blakey (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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        "ordre" => 7
        "nom" => "3. The Leap"
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    -artiste: App\Entity\Artiste {#1063 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3421
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  +produit: App\Entity\Produit {#2113
    -id: 264
    -nom: "Volume 3 (LP 10')"
    -informationComplementaire: "Last copy in stock !"
    -description: """
      Recorded at Rudy Van Gelder's studio on March 6, 1954, this was the emerging trumpeter's third session recorded for Blue Note. Originally released on a 10" pressing (BLP-5040), Classic Records is proud to once again make this collectable available in this original format. \r\n
      \r\n
      With the assistance of EMI / Blue Note, Classic has been given access to recently discovered original source materials on the Blue Note sessions and along with the upgraded sound, has painstakingly worked to deliver a high-quality 10" pressing and also faithfully reproduce the original 10" jacket. \r\n
      \r\n
      Original 1954 first pressings in mint condition have been known to bring a minimum of $ 300 on the collector's market. The set features the leader Miles with some of his finest playing. His support includes Horace Silver on piano, Percy Heath on bass and Art Blakey behind the drums. \r\n
      \r\n
      The original six selections include "Take Off", Lazy Susan", "The Leap", "Well You Needn't", "Weirdo" and "It Never Entered My Mind".
      """
    -prixVente: "99.50"
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    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
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[
  "produit" => App\Entity\Produit {#2129
    -id: 2873
    -nom: "Kind Of Blue (Corrected Speed)"
    -informationComplementaire: null
    -description: """
      - 180 gram double LP 33 1/3 edition (Side 4 will be 45 RPM) !\r\n
      - Side 1 Speed Corrected for recording adjustment !\r\n
      - Pressed at Quality Record Pressings using Classic Records parts that were mastered by Bernie Grundman from the original master tape !\r\n
      - Includes 4 panel insert with corrected speed information and liner notes by Robert Palmer !\r\n
      - Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish !\r\n
      - Standard black vinyl pressing !\r\n
      - Also available as a limited edition blue vinyl pressing !\r\n
      \r\n
      A minor audio complication with Kind of Blue has been addressed with our UHQR edition, and now with this 331/3 RPM double LP reissue.\r\n
      \r\n
      The motor on the studio's 3 track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What", "Freddie Freeloader" and "Blue in Green", making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records or their latter-day parent, Sony Music on a CD reissue in the late '90s. This edition also contains on Side 4 "Flamenco Sketches (alternate take)" cut at 45 RPM.\r\n
      \r\n
      Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording - a five-track masterpiece of melancholy mood and melody.\r\n
      \r\n
      It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wynton Kelly playing piano on "Freddy the Freeloader."\r\n
      \r\n
      Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick", Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them". Kind of Blue is, in a sense, all melody and atmosphere.\r\n
      \r\n
      None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.\r\n
      \r\n
      Miles remained proud of the album, performing at least two of its tracks "So What" and "All Blues" for years after, until his musical path took him in a different direction.\r\n
      \r\n
      History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.\r\n
      \r\n
      This LP bridges the time span since the album's original recording in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Julian "Cannonball" Adderley (alto sax), John Coltrane (tenor sax), Paul Chambers (double bass), Bill Evan, Wynton Kelly (piano), Jimmy Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=TpMzD8Q1fQg&list=RDTpMzD8Q1fQg&start_radio=1"
    -referenceProduit: "Analogue Productions AAPJ 8163"
    -titreMorceau: [
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App\Twig\Components\GestionPanierFavoriComponents {#3469
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2616 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 2873
    -nom: "Kind Of Blue (Corrected Speed)"
    -informationComplementaire: null
    -description: """
      - 180 gram double LP 33 1/3 edition (Side 4 will be 45 RPM) !\r\n
      - Side 1 Speed Corrected for recording adjustment !\r\n
      - Pressed at Quality Record Pressings using Classic Records parts that were mastered by Bernie Grundman from the original master tape !\r\n
      - Includes 4 panel insert with corrected speed information and liner notes by Robert Palmer !\r\n
      - Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish !\r\n
      - Standard black vinyl pressing !\r\n
      - Also available as a limited edition blue vinyl pressing !\r\n
      \r\n
      A minor audio complication with Kind of Blue has been addressed with our UHQR edition, and now with this 331/3 RPM double LP reissue.\r\n
      \r\n
      The motor on the studio's 3 track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What", "Freddie Freeloader" and "Blue in Green", making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records or their latter-day parent, Sony Music on a CD reissue in the late '90s. This edition also contains on Side 4 "Flamenco Sketches (alternate take)" cut at 45 RPM.\r\n
      \r\n
      Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording - a five-track masterpiece of melancholy mood and melody.\r\n
      \r\n
      It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wynton Kelly playing piano on "Freddy the Freeloader."\r\n
      \r\n
      Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick", Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them". Kind of Blue is, in a sense, all melody and atmosphere.\r\n
      \r\n
      None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.\r\n
      \r\n
      Miles remained proud of the album, performing at least two of its tracks "So What" and "All Blues" for years after, until his musical path took him in a different direction.\r\n
      \r\n
      History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.\r\n
      \r\n
      This LP bridges the time span since the album's original recording in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
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    -lpsMusic: 2
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    -extraitYoutube: "https://www.youtube.com/watch?v=TpMzD8Q1fQg&list=RDTpMzD8Q1fQg&start_radio=1"
    -referenceProduit: "Analogue Productions AAPJ 8163"
    -titreMorceau: [
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        "nom" => ""
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      [
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        "nom" => ""
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    -artiste: App\Entity\Artiste {#1063 …}
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      date: 2025-12-09 13:50:28.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2144
    -id: 2869
    -nom: "The Complete Live at the Plugged Nickel 1965 (10 LP) Box Set"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Legacy Records)"
    -description: """
      - Miles Davis "The Complete Live at the Plugged Nickel 1965" (10 LP) Box Set !\r\n
      - Hailed as One of the Greatest Live Jazz Recordings Ever !\r\n
      - Includes a 44 Page Book with Rare Plugged Nickel Photos, New Liner Notes & More !\r\n
      \r\n
      The most requested Miles Davis reissue arrives for his centennial in spectacular style.\r\n
      \r\n
      What began as a holiday residency at Chicago's Plugged Nickel Café became the crucible where the Second Great Quintet forged its identity. Miles, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams delivered a masterclass in risk and invention, dismantling familiar tunes and rebuilding them on the fly. Producer Teo Macero captured every note across seven sets on December 22 and 23, 1965. Portions trickled out in the '70s and '80s, but only in the early '90s did Legacy (CD) and Mosaic (LP) reveal the full scope of seven and half hours of revelatory music—instantly hailed as one of the greatest live jazz recordings ever, earning the The Penguin Guide to Jazz's coveted "Crown", and becoming pricey, secondary-market rarities. Now, 30 years later and six decades after the shows themselves, veteran fans finally get the repress they've demanded, and new fans get a chance to own one of the most mythologized live engagements in jazz history.\r\n
      \r\n
      This new (10 LP) edition mirrors the original sequence, cut from the high-res Mosaic masters and pressed on 140 gram black vinyl. Each LP comes in its own newly designed jacket, housed in a gold foil-embossed slipcase box. The 44 page 12"x 12" Smyth Sewn book includes rare Plugged Nickel photos and extensive new liner notes and track-by-track commentary by Syd Schwartz alongside Bob Blumenthal's original essay.
      """
    -prixVente: "299.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1135 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 10
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=3xv6P3f-UeU&list=RD3xv6P3f-UeU&start_radio=1"
    -referenceProduit: "Legacy Records 1241"
    -titreMorceau: [
      [
        "nom" => "LP 1 - December 22, 1965 – 1st Set"
        "ordre" => 0
      ]
      [
        "nom" => "Side A :"
        "ordre" => 1
      ]
      [
        "nom" => "1. If I Were a Bell"
        "ordre" => 2
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      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "1. Stella by Starlight"
        "ordre" => 4
      ]
      [
        "nom" => "2. Walkin'"
        "ordre" => 5
      ]
      [
        "nom" => "LP 2 - December 22, 1965 – 1st Set (cont'd)"
        "ordre" => 6
      ]
      [
        "nom" => "Side C :"
        "ordre" => 7
      ]
      [
        "nom" => "1. I Fall in Love Too Easily"
        "ordre" => 8
      ]
      [
        "nom" => "2. The Theme"
        "ordre" => 9
      ]
      [
        "nom" => "Side D : December 22, 1965 – 2nd Set"
        "ordre" => 10
      ]
      [
        "nom" => "1. My Funny Valentine"
        "ordre" => 11
      ]
      [
        "nom" => "LP 3 - December 22, 1965 – 2nd Set (cont'd)"
        "ordre" => 12
      ]
      [
        "nom" => "Side E : "
        "ordre" => 13
      ]
      [
        "nom" => "1. Four"
        "ordre" => 14
      ]
      [
        "nom" => "2. When I Fall in Love"
        "ordre" => 15
      ]
      [
        "nom" => "Side F :"
        "ordre" => 16
      ]
      [
        "nom" => "1. Agitation"
        "ordre" => 17
      ]
      [
        "nom" => "2. 'Round Midnight"
        "ordre" => 18
      ]
      [
        "nom" => "LP 4 - December 22, 1965 – 2nd Set (cont'd)"
        "ordre" => 19
      ]
      [
        "nom" => "Side G : "
        "ordre" => 20
      ]
      [
        "nom" => "1. Milestones"
        "ordre" => 21
      ]
      [
        "nom" => "2. The Theme"
        "ordre" => 22
      ]
      [
        "nom" => "December 22, 1965 – 3rd Set"
        "ordre" => 23
      ]
      [
        "nom" => "3. I Fall in Love Too Easily"
        "ordre" => 24
      ]
      [
        "nom" => "Side H : "
        "ordre" => 25
      ]
      [
        "nom" => "1. All of You"
        "ordre" => 26
      ]
      [
        "nom" => "2. Oleo"
        "ordre" => 27
      ]
      [
        "nom" => "LP 5 - December 22, 1965 – 3rd Set (cont'd)"
        "ordre" => 28
      ]
      [
        "nom" => "Side I :"
        "ordre" => 29
      ]
      [
        "nom" => "1. No Blues"
        "ordre" => 30
      ]
      [
        "nom" => "Side J : "
        "ordre" => 31
      ]
      [
        "nom" => "1. I Thought About You"
        "ordre" => 32
      ]
      [
        "nom" => "2. The Theme"
        "ordre" => 33
      ]
      [
        "nom" => "LP 6 - December 23, 1965 – 1st Set"
        "ordre" => 34
      ]
      [
        "nom" => "Side K : "
        "ordre" => 35
      ]
      [
        "nom" => "1. If I Were a Bell"
        "ordre" => 36
      ]
      [
        "nom" => "2. Stella by Starlight"
        "ordre" => 37
      ]
      [
        "nom" => "Side L :"
        "ordre" => 38
      ]
      [
        "nom" => "1. Walkin'"
        "ordre" => 39
      ]
      [
        "nom" => "2. I Fall in Love Too Easily"
        "ordre" => 40
      ]
      [
        "nom" => "3. The Theme"
        "ordre" => 41
      ]
      [
        "nom" => "LP 7 - December 23, 1965 – 2nd Set"
        "ordre" => 42
      ]
      [
        "nom" => "Side M : "
        "ordre" => 43
      ]
      [
        "nom" => "1. All of You"
        "ordre" => 44
      ]
      [
        "nom" => "2. Agitation"
        "ordre" => 45
      ]
      [
        "nom" => "Side N : "
        "ordre" => 46
      ]
      [
        "nom" => "1. My Funny Valentine"
        "ordre" => 47
      ]
      [
        "nom" => "2. On Green Dolphin Street"
        "ordre" => 48
      ]
      [
        "nom" => "LP 8 - December 23, 1965 – 2nd Set (cont'd)"
        "ordre" => 49
      ]
      [
        "nom" => "Side O : "
        "ordre" => 50
      ]
      [
        "nom" => "1. So What"
        "ordre" => 51
      ]
      [
        "nom" => "2. The Theme"
        "ordre" => 52
      ]
      [
        "nom" => "December 23, 1965 – 3rd Set"
        "ordre" => 53
      ]
      [
        "nom" => "Side P : "
        "ordre" => 54
      ]
      [
        "nom" => "1. When I Fall in Love"
        "ordre" => 55
      ]
      [
        "nom" => "2. Milestones"
        "ordre" => 56
      ]
      [
        "nom" => "LP 9 - December 23, 1965 – 3rd Set (cont'd)"
        "ordre" => 57
      ]
      [
        "nom" => "Side Q : "
        "ordre" => 58
      ]
      [
        "nom" => "1. Autumn Leaves"
        "ordre" => 59
      ]
      [
        "nom" => "2. I Fall in Love Too Easily"
        "ordre" => 60
      ]
      [
        "nom" => "Side R :"
        "ordre" => 61
      ]
      [
        "nom" => "1. No Blues"
        "ordre" => 62
      ]
      [
        "nom" => "2. The Theme"
        "ordre" => 63
      ]
      [
        "nom" => "LP 10 - December 23, 1965 – 4th Set"
        "ordre" => 64
      ]
      [
        "nom" => "Side S : "
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      ]
      [
        "nom" => "1. Stella by Starlight"
        "ordre" => 66
      ]
      [
        "nom" => "2. All Blues"
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      ]
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      [
        "nom" => "1. Yesterdays"
        "ordre" => 69
      ]
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        "nom" => "2. The Theme"
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      [
        "nom" => ""
        "ordre" => 71
      ]
      [
        "nom" => ""
        "ordre" => 72
      ]
      [
        "nom" => ""
        "ordre" => 73
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2039 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2152 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2147 …}
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      date: 2025-10-10 16:08:53.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1760114275 {#2139
      date: 2025-10-10 16:37:55.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2149 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-complete-live-at-the-plugged-nickel-1965-10-lp-box-set-legacy-records-1241"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3517
  -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 {#2616 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2144
    -id: 2869
    -nom: "The Complete Live at the Plugged Nickel 1965 (10 LP) Box Set"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Legacy Records)"
    -description: """
      - Miles Davis "The Complete Live at the Plugged Nickel 1965" (10 LP) Box Set !\r\n
      - Hailed as One of the Greatest Live Jazz Recordings Ever !\r\n
      - Includes a 44 Page Book with Rare Plugged Nickel Photos, New Liner Notes & More !\r\n
      \r\n
      The most requested Miles Davis reissue arrives for his centennial in spectacular style.\r\n
      \r\n
      What began as a holiday residency at Chicago's Plugged Nickel Café became the crucible where the Second Great Quintet forged its identity. Miles, Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams delivered a masterclass in risk and invention, dismantling familiar tunes and rebuilding them on the fly. Producer Teo Macero captured every note across seven sets on December 22 and 23, 1965. Portions trickled out in the '70s and '80s, but only in the early '90s did Legacy (CD) and Mosaic (LP) reveal the full scope of seven and half hours of revelatory music—instantly hailed as one of the greatest live jazz recordings ever, earning the The Penguin Guide to Jazz's coveted "Crown", and becoming pricey, secondary-market rarities. Now, 30 years later and six decades after the shows themselves, veteran fans finally get the repress they've demanded, and new fans get a chance to own one of the most mythologized live engagements in jazz history.\r\n
      \r\n
      This new (10 LP) edition mirrors the original sequence, cut from the high-res Mosaic masters and pressed on 140 gram black vinyl. Each LP comes in its own newly designed jacket, housed in a gold foil-embossed slipcase box. The 44 page 12"x 12" Smyth Sewn book includes rare Plugged Nickel photos and extensive new liner notes and track-by-track commentary by Syd Schwartz alongside Bob Blumenthal's original essay.
      """
    -prixVente: "299.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1135 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 10
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=3xv6P3f-UeU&list=RD3xv6P3f-UeU&start_radio=1"
    -referenceProduit: "Legacy Records 1241"
    -titreMorceau: [
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        "nom" => "LP 1 - December 22, 1965 – 1st Set"
        "ordre" => 0
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        "nom" => "Side A :"
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        "nom" => "1. If I Were a Bell"
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        "nom" => "LP 2 - December 22, 1965 – 1st Set (cont'd)"
        "ordre" => 6
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        "nom" => "Side C :"
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      ]
      [
        "nom" => "LP 3 - December 22, 1965 – 2nd Set (cont'd)"
        "ordre" => 12
      ]
      [
        "nom" => "Side E : "
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      ]
      [
        "nom" => "1. Four"
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      [
        "nom" => "2. When I Fall in Love"
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        "nom" => "Side F :"
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      ]
      [
        "nom" => "2. 'Round Midnight"
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      ]
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        "nom" => "LP 4 - December 22, 1965 – 2nd Set (cont'd)"
        "ordre" => 19
      ]
      [
        "nom" => "Side G : "
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      [
        "nom" => "December 22, 1965 – 3rd Set"
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      [
        "nom" => "Side H : "
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      ]
      [
        "nom" => "2. Oleo"
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      ]
      [
        "nom" => "LP 5 - December 22, 1965 – 3rd Set (cont'd)"
        "ordre" => 28
      ]
      [
        "nom" => "Side I :"
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      [
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      [
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        "nom" => "LP 6 - December 23, 1965 – 1st Set"
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        "ordre" => 62
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        "ordre" => 71
      ]
      [
        "nom" => ""
        "ordre" => 72
      ]
      [
        "nom" => ""
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      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
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    -disponible: null
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    -slug: "vinyles-the-complete-live-at-the-plugged-nickel-1965-10-lp-box-set-legacy-records-1241"
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[
  "produit" => App\Entity\Produit {#2159
    -id: 573
    -nom: "Kind of Blue - (Box Set 2 LP) - Ultra Analog 180 gram 45 RPM"
    -informationComplementaire: "Reissue 2023"
    -description: """
      - IF THERE'S A STAIRWAY TO HEAVEN, THIS IS THE SOUNDTRACK : THE MT. RUSHMORE OF JAZZ SESSIONS !\r\n
      - Best-Selling Album in Jazz History Receives the Mobile Fidelity Treatment: Sourced from the Original Master Tapes, This Numbered-Edition 180 gram 45 RPM (2 LP) Box Set Sounds Sublime !\r\n
      - 1/4" / 15 IPS / Dolby SR analog remix master to DSD 64 to analog console to lathe !\r\n
      \r\n
      How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. There's also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.\r\n
      \r\n
      In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis' key recordings. It's why the our engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.\r\n
      \r\n
      While no one has ever completely identified the magic behind the record's allure the otherworldly nature is part of its inherent charm much of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.\r\n
      \r\n
      An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelity's reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, you'll feel as if you've been whisked away to a jazz holy land. Quintessential.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Julian "Cannonball" Adderley (alto sax), John Coltrane (tenor sax), Paul Chambers (double bass), Bill Evan,   Wynton Kelly (piano), Jimmy Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=917Asjadc_U"
    -referenceProduit: "Mobile Fidelity Sound Lab 2-45011"
    -titreMorceau: [
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        "ordre" => 0
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        "ordre" => 1
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      [
        "nom" => "SIde B : "
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        "nom" => "1. Freddie Freeloader"
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        "nom" => "2. Blue in Green"
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        "nom" => "Side C :"
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        "nom" => "1. All Blues"
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      [
        "nom" => "Side D :"
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      ]
      [
        "nom" => "1. Flamenco Sketches"
        "ordre" => 8
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    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2057 …}
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    -enregistreLe: DateTime @1360519620 {#2155
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    }
    -modifierLe: DateTime @1757924545 {#2154
      date: 2025-09-15 08:22:25.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-kind-of-blue-box-set-2-lp-ultra-analog-180-gram-45-rpm-mobile-fidelity-sound-lab-2-45011"
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App\Twig\Components\GestionPanierFavoriComponents {#3565
  -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 {#2616 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2159
    -id: 573
    -nom: "Kind of Blue - (Box Set 2 LP) - Ultra Analog 180 gram 45 RPM"
    -informationComplementaire: "Reissue 2023"
    -description: """
      - IF THERE'S A STAIRWAY TO HEAVEN, THIS IS THE SOUNDTRACK : THE MT. RUSHMORE OF JAZZ SESSIONS !\r\n
      - Best-Selling Album in Jazz History Receives the Mobile Fidelity Treatment: Sourced from the Original Master Tapes, This Numbered-Edition 180 gram 45 RPM (2 LP) Box Set Sounds Sublime !\r\n
      - 1/4" / 15 IPS / Dolby SR analog remix master to DSD 64 to analog console to lathe !\r\n
      \r\n
      How does one properly introduce an epochal record? Perhaps by unequivocally stating that it is the best-selling jazz album in history. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. There's also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Yes, Kind of Blue is utterly inimitable.\r\n
      \r\n
      In its three-decade-plus history, Mobile Fidelity has never been prouder to have the honor of handling efforts as important as Davis' key recordings. It's why the our engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber.\r\n
      \r\n
      While no one has ever completely identified the magic behind the record's allure the otherworldly nature is part of its inherent charm much of the success lies with the band members. Davis intentionally handpicked these musicians to comprise this particular cast, with everyone from former foil Evans to blues maestro Kelly to percussive genius Cobb interacting and reacting with peerless skill.\r\n
      \r\n
      An audiophile favorite from the day it was issued, Kind of Blue takes on nirvanic sonic proportions via Mobile Fidelity's reissue. The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems. Everyone shares in the excitement of not knowing what will happen and, as the music begins to lie out in front of you, you'll feel as if you've been whisked away to a jazz holy land. Quintessential.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Julian "Cannonball" Adderley (alto sax), John Coltrane (tenor sax), Paul Chambers (double bass), Bill Evan,   Wynton Kelly (piano), Jimmy Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=917Asjadc_U"
    -referenceProduit: "Mobile Fidelity Sound Lab 2-45011"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. So What"
        "ordre" => 1
      ]
      [
        "nom" => "SIde B : "
        "ordre" => 2
      ]
      [
        "nom" => "1. Freddie Freeloader"
        "ordre" => 3
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      [
        "nom" => "2. Blue in Green"
        "ordre" => 4
      ]
      [
        "nom" => "Side C :"
        "ordre" => 5
      ]
      [
        "nom" => "1. All Blues"
        "ordre" => 6
      ]
      [
        "nom" => "Side D :"
        "ordre" => 7
      ]
      [
        "nom" => "1. Flamenco Sketches"
        "ordre" => 8
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2057 …}
    -style: App\Entity\Style {#1468 …}
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2384 …}
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[
  "produit" => App\Entity\Produit {#2172
    -id: 2677
    -nom: "My Funny Valentine - SuperVinyl"
    -informationComplementaire: "Mastered at MoFi’s Studio in Honor of Album's 60th Anniversary, Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP Plays with Lifelike Clarity"
    -description: """
      - Miles Davis Gets Balladic on My Funny Valentine: Live Set Is Distinguished with Deep Emotions, Poetic Elegance, and Sensitive Beauty !\r\n
      \r\n
      - Mastered at MoFi’s Studio in Honor of Album's 60th Anniversary Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP Plays with Lifelike Clarity !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 64 to analog console to lathe !\r\n
      \r\n
      My Funny Valentine: Miles Davis in Concert marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps to Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis’ oft-controversial avant-garde leanings. \r\n
      \r\n
      Most significantly, the richly textured set the bookend to the fast-paced Four & More captures the warm ballads and delicate pieces performed at a February 12, 1964 benefit concert at New York’s then-new Philharmonic Hall that occurred just months after President Kennedy’s assassination. Seemingly channeling divine inspiration, Davis never sounded more elegant or poetic, particularly given the uniqueness of this 60th Anniversary Edition pressing. \r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton jacket, pressed at Fideltiy Record Pressing on MoFi SuperVinyl, and strictly limited to 3000 numbered copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP plays with stunning depth, presence, dynamics, clarity, and ambience. Benefitting from SuperVinyl’s low-as-possible noise floor and superb groove definition, this audiophile LP boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns are rendered with palpable detail. \r\n
      \r\n
      Held as a benefit to support voter registration in the South and a fundraiser for NAACP, the Congress of Racial Equality, and SNCC the concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. The unforeseen circumstances surrounding Kennedy’s death further raised the stakes. Having professed admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (in particular, the title track) as an homage to the fallen leader.\r\n
      \r\n
      Nearing their one-year anniversary together, he and his band turned half the event into a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate these performances; Davis and his Harmon mute paint with intricate brushstrokes. \r\n
      \r\n
      Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader’s equal. They would continue with Davis until later in the decade, helping form his Second Great Quintet. But the secret weapon on My Funny Valentine arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem “one of the unsung heroes of modern jazz”. His lines are subtle and sophisticated, straight-ahead but capable of unanticipated direction. Here, Coleman comes into his own.\r\n
      \r\n
      The combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the group on My Funny Valentine exceeds that of any of Davis' live 1960s efforts. One listen confirms something special transpiring. And on this breathtaking reissue, those properties are rendered in a manner that’s as transparent to the source. Here’s your chance to experience them again and again.\r\n
      \r\n
      MoFi SuperVinyl :\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound devised. 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 carbonless dye (hold the disc up to the light and see) and produces ultra-quiet surfaces. This high-definition formula also allows for the creation of clean grooves that are virtually indistinguishable from the original lacquer.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Ron Carter (bass), George Coleman (tenor saxophone), Herbie Hancock (piano), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=XdrAzpYdOYs"
    -referenceProduit: "Mobile Fidelity Sound Lab - MFSV1-520"
    -titreMorceau: [
      [
        "nom" => "1. My Funny Valentine"
        "ordre" => 1
      ]
      [
        "nom" => "1. Stella By Starlight"
        "ordre" => 4
      ]
      [
        "nom" => "2. All Blues"
        "ordre" => 5
      ]
      [
        "nom" => "2. All of You"
        "ordre" => 2
      ]
      [
        "nom" => "3. I Thought About You"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#2057 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2180 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2173 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2175 …}
    -enregistreLe: DateTime @1748073564 {#2169
      date: 2025-05-24 07:59:24.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1748073808 {#2170
      date: 2025-05-24 08:03:28.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2177 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-my-funny-valentine-supervinyl-mobile-fidelity-sound-lab-mfsv1-520"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3613
  -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 {#2616 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2172
    -id: 2677
    -nom: "My Funny Valentine - SuperVinyl"
    -informationComplementaire: "Mastered at MoFi’s Studio in Honor of Album's 60th Anniversary, Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP Plays with Lifelike Clarity"
    -description: """
      - Miles Davis Gets Balladic on My Funny Valentine: Live Set Is Distinguished with Deep Emotions, Poetic Elegance, and Sensitive Beauty !\r\n
      \r\n
      - Mastered at MoFi’s Studio in Honor of Album's 60th Anniversary Limited to 3000 Numbered Copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP Plays with Lifelike Clarity !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 64 to analog console to lathe !\r\n
      \r\n
      My Funny Valentine: Miles Davis in Concert marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps to Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis’ oft-controversial avant-garde leanings. \r\n
      \r\n
      Most significantly, the richly textured set the bookend to the fast-paced Four & More captures the warm ballads and delicate pieces performed at a February 12, 1964 benefit concert at New York’s then-new Philharmonic Hall that occurred just months after President Kennedy’s assassination. Seemingly channeling divine inspiration, Davis never sounded more elegant or poetic, particularly given the uniqueness of this 60th Anniversary Edition pressing. \r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton jacket, pressed at Fideltiy Record Pressing on MoFi SuperVinyl, and strictly limited to 3000 numbered copies, Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP plays with stunning depth, presence, dynamics, clarity, and ambience. Benefitting from SuperVinyl’s low-as-possible noise floor and superb groove definition, this audiophile LP boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns are rendered with palpable detail. \r\n
      \r\n
      Held as a benefit to support voter registration in the South and a fundraiser for NAACP, the Congress of Racial Equality, and SNCC the concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. The unforeseen circumstances surrounding Kennedy’s death further raised the stakes. Having professed admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (in particular, the title track) as an homage to the fallen leader.\r\n
      \r\n
      Nearing their one-year anniversary together, he and his band turned half the event into a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate these performances; Davis and his Harmon mute paint with intricate brushstrokes. \r\n
      \r\n
      Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader’s equal. They would continue with Davis until later in the decade, helping form his Second Great Quintet. But the secret weapon on My Funny Valentine arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem “one of the unsung heroes of modern jazz”. His lines are subtle and sophisticated, straight-ahead but capable of unanticipated direction. Here, Coleman comes into his own.\r\n
      \r\n
      The combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the group on My Funny Valentine exceeds that of any of Davis' live 1960s efforts. One listen confirms something special transpiring. And on this breathtaking reissue, those properties are rendered in a manner that’s as transparent to the source. Here’s your chance to experience them again and again.\r\n
      \r\n
      MoFi SuperVinyl :\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound devised. 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 carbonless dye (hold the disc up to the light and see) and produces ultra-quiet surfaces. This high-definition formula also allows for the creation of clean grooves that are virtually indistinguishable from the original lacquer.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Ron Carter (bass), George Coleman (tenor saxophone), Herbie Hancock (piano), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=XdrAzpYdOYs"
    -referenceProduit: "Mobile Fidelity Sound Lab - MFSV1-520"
    -titreMorceau: [
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        "nom" => "1. My Funny Valentine"
        "ordre" => 1
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        "nom" => "1. Stella By Starlight"
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      [
        "nom" => "2. All Blues"
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      [
        "nom" => "2. All of You"
        "ordre" => 2
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        "nom" => "3. I Thought About You"
        "ordre" => 6
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      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
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      date: 2025-05-24 08:03:28.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-my-funny-valentine-supervinyl-mobile-fidelity-sound-lab-mfsv1-520"
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[
  "produit" => App\Entity\Produit {#2185
    -id: 2636
    -nom: "Black Beauty - Miles Davis At Fillmore West"
    -informationComplementaire: ""
    -description: """
      Recorded When Miles Davis Opened for the Grateful Dead in San Francisco at Fillmore West : Black Beauty Surges Ahead into a Future Jazz World, Features Superb Performances and Rich Colors\n
      \n
      First-Ever Domestic Vinyl Release of 1973 Live Album : Mobile Fidelity’s 180g 33RPM 2LP Set Plays with Captivating Energy, Presence, and Clarity\n
      \n
      1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe\n
      \n
      Dateline : April 10, 1970. Setting: The storied Fillmore West in San Francisco, CA. Context : Miles Davis, three days removed from his first session for Jack Johnson and, with newly recruited soprano saxophonist Steve Grossman in tow, opening shows for countercultural heroes the Grateful Dead on the latter’s home turf. Result: The initial rumblings of a thrilling era in which Davis and his cohorts would again upend jazz and popular conceptions of the genre with music steeped in groove, improvisation, and hang-on-for-your-life adventurousness. All captured on Black Beauty: Miles Davis at Fillmore West.\n
      \n
      Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180 gram 33 RPM (2 LP) set helps bring what went down that spring evening in Bill Graham’s venue to your listening room with exceptional clarity, balance, and presence. Originally only released in Japan in 1973 and unavailable in the United States until the late ‘90s on compact disc, this marks the first time Black Beauty has been issued on domestic vinyl. The wait is worth it.\n
      \n
      Benefitting from quiet surfaces and excellent definition, these LPs present the band’s livewire energy and torrential storm of notes with captivating dynamics, pacing, and fullness. At its core, this audiophile reissue takes you into the walls of sound erected by a band learning on-the-fly the sheer power, will, and breadth of the electric jazz Davis was orchestrating and realizing, on the spot, would reach rock audiences that until that point had only a faint awareness of his mad-scientist experimentation. The sense of release and reach conveyed by these carefully restored records make it clear the veteran bandleader was in the process of a permanent shift that he’d chase for the next five years.\n
      \n
      Given Davis was only a few months away from releasing the pioneering double album Bitches Brew, it shouldn’t come as a surprise that much of the fare here adheres to similar explorative approaches. Turbulent rhythms, provocative trumpet passages, and rich, saturated tonal colors that seemingly splash against a blank canvas take precedence over any traditional attempts at organization and melody. Davis and Co. intentionally play everything on a line with the bandleader signaling changes with his horn via coded phrases. The group speaks a common language with each member having gone to achieve iconic status for their career contributions and technical prowess.\n
      \n
      In the company of Grossman, Chick Corea (piano), Dave Holland (bass), Jack DeJohnette (drums), and Airto Moreira (percussion), Davis constructs themes around “Directions”, “Miles Runs the Voodoo Down”, “It’s About That Time”, the title track to Bitches Brew, and more from his then most-recent studio works and the in-progress Jack Johnson. His farewell to the popular standards that for nearly two decades remained a part of his repertoire arrive via a brief dalliance with “I Fall in Love Too Easily”, a shortened albeit aggressive “Masqualero”, and the “Theme” finale of “Spanish Key”. Initially, Black Beauty lacked specific track listings due to Davis’ increasing frustration with listeners over-analyzing his music.\n
      \n
      In retrospect, it’s difficult to blame anyone for wanting to view what’s on display here with the aural equivalent of a magnifying glass. Leaning in rock directions, yet maintaining an ear for spaciousness and solos, Black Beauty survives as a snapshot of a thrilling moment amid a transitory period in which evolution came fast and furious. Just two months later, Davis would add another instrumentalist to the lineup in the form of organist Keith Jarrett, and the perpetually restless visionary would blast off to a more atmospheric and arguably more chaotic universe.\n
      \n
      Consider, then, this live document a bridge to that galaxy and a breathtaking example of the possibilities of jazz itself.\n
      \n
      Track List :\n
      - 1. Directions\n
      - 2. Miles Runs the Voodoo Down\n
      - 3. Willie Nelson\n
      - 4. I Fall in Love Too Easily\n
      - 5. Sanctuary\n
      - 6. It’s About That Time\n
      - 7. Bitches Brew\n
      - 8. Masqualero\n
      - 9. Spanish Key/The Theme
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Steve Grossman (saxophone), Chick Corea (electric piano), Dave Holland (electric bass), Airto Moreira (percussion), Jack DeJohnette (drums) "
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=keORyP0Gfcw"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-568"
    -titreMorceau: [
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        "nom" => "1. Black Beauty Part I"
        "ordre" => 1
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      [
        "nom" => "2. Black Beauty Part II"
        "ordre" => 3
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      [
        "nom" => "3. Black Beauty Part III"
        "ordre" => 5
      ]
      [
        "nom" => "4. Black Beauty Part IV"
        "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 {#2057 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2193 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2186 …}
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    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2188 …}
    -enregistreLe: DateTime @1739208432 {#2182
      date: 2025-02-10 17:27:12.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1748071007 {#2183
      date: 2025-05-24 07:16:47.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2190 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-black-beauty-miles-davis-at-fillmore-west-mobile-fidelity-sound-lab-mfsl-2-568"
  }
  "detaillePage" => false
]