Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2557
  -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 {#2404 …}
}

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

App\Twig\Components\ListePanier {#2634
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2637 …}
  -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 {#2636 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2404 …}
  -formView: Symfony\Component\Form\FormView {#2673 …}
  -form: Symfony\Component\Form\Form {#2823 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1821
    -id: 689
    -nom: "Changing Lights"
    -informationComplementaire: ""
    -description: """
      Stacey Kent's latest recording again demonstrates her vocal mastery. The immaculate intonation, timing and diction are flawless to the point of sheer purity. Her voice becomes an instrument with impeccable clarity and minimal vibrato. The album’s musical focus is Brazilian, mixing classics with originals, while switching smoothly between English, Portuguese and French. \r\n
      \r\n
      There are covers of Bossa Nova numbers from Tom Jobim, Roberto Menescal, Marcos Valle and others. Highlights include Jobim's How Insensitive, which is quietly and intensely melancholic, whilst the Jobim classic, One Note Samba, is given a cheeky up-tempo treatment. It is a difficult number to handle at such pace with the short-spaced, almost staccato notes. Stacey effortlessly takes the scale runs in her stride. Roberto Menescal’s O Barquinho is given a fresh arrangement and is performed by the composer himself on guitar. \r\n
      \r\n
      Six originals by Jim Tomlinson make up the rest of the album, three written with novelist and lyricist, Kazuo Ishiguro; the sublime title song, The Changing Lights, The Summer We Crossed Europe in the Rain, a story gracefully sung by Ms Kent and Waiter, Oh Waiter, a neat and jaunty request for help in choosing from a French menu. Two songs in Portuguese, Mais Uma Vez and A Tarde, written with poet, Antonio Ladeira, and Chanson Légère, written with Bernie Beaupère, who penned the title track to Stacey’s Raconte-Moi, add yet more flavours to the album. The arrangements and accompaniment of producer and husband, Jim Tomlinson are outstanding. The rhythm section is wonderfully subtle with praise for the percussionists, Josh Morrison and Matt Home, pianist Graham Harvey, bassist, Jeremy Brown and the guitarists, Roberto Menescal and John Parricelli. However, The Changing Lights is Stacey Kent's record first and foremost; impressive and top class.\r\n
      \r\n
      Explaining his and Stacey's musical process, Tomlinson elaborates on Kazuo Ishiguro's thoughts in his liner note of Stacey's 2001 Candid album, In Love Again. "Stacey's style reminds me of the best film actors who, on camera, develop a very different style to that of stage actors who are required to project their voices and gestures in order to express themselves across the space of the theatre. In film, an actor can do a lot with very little, whether in terms of expression, gesture, inflection or tone of voice. With Stacey, I believe that we create music in the same way, where even the smallest gestures have great emotional significance".\r\n
      \r\n
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Stacey Kent (guitar, vocals), Jim Tomlinson (tenor & soprano saxophone, flute), Graham Harvey (piano, Fender Rhodes),  Roberto Menescal, John Parricelli (guitar), Jeremy Brown (double bass), Raymundo Bittencourt (ganza), Matt Home, Joshua Morrison (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=gq1z9FUBxiE"
    -referenceProduit: "Pure Pleasure Records PPAN 17529"
    -titreMorceau: [
      [
        "nom" => "1. Like A Lover"
        "ordre" => 13
      ]
      [
        "nom" => "1. Mais Uma Vez"
        "ordre" => 5
      ]
      [
        "nom" => "1. The Changing Lights"
        "ordre" => 9
      ]
      [
        "nom" => "1. This Happy Madness"
        "ordre" => 1
      ]
      [
        "nom" => "2. How Insensitive"
        "ordre" => 10
      ]
      [
        "nom" => "2. The Face I Love"
        "ordre" => 14
      ]
      [
        "nom" => "2. The Summer We Crossed Europe In The Rain"
        "ordre" => 2
      ]
      [
        "nom" => "2. Waiter, Oh Waiter"
        "ordre" => 6
      ]
      [
        "nom" => "3. A Tarde"
        "ordre" => 15
      ]
      [
        "nom" => "3. O Barquinho"
        "ordre" => 7
      ]
      [
        "nom" => "3. O Bêbado E A Equilibrista / Smile "
        "ordre" => 11
      ]
      [
        "nom" => "3. One Note Samba (Samba De Uma Nota Só) "
        "ordre" => 3
      ]
      [
        "nom" => "4. Chanson Légère"
        "ordre" => 16
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "Side C : "
        "ordre" => 8
      ]
      [
        "nom" => "Side D : "
        "ordre" => 12
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2028 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1902 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2016 …}
    -enregistreLe: DateTime @1404722279 {#1876
      date: 2014-07-07 08:37:59.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1574694632 {#1869
      date: 2019-11-25 15:10:32.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-changing-lights-pure-pleasure-records-ppan-17529"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3097
  -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 {#2636 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#1821
    -id: 689
    -nom: "Changing Lights"
    -informationComplementaire: ""
    -description: """
      Stacey Kent's latest recording again demonstrates her vocal mastery. The immaculate intonation, timing and diction are flawless to the point of sheer purity. Her voice becomes an instrument with impeccable clarity and minimal vibrato. The album’s musical focus is Brazilian, mixing classics with originals, while switching smoothly between English, Portuguese and French. \r\n
      \r\n
      There are covers of Bossa Nova numbers from Tom Jobim, Roberto Menescal, Marcos Valle and others. Highlights include Jobim's How Insensitive, which is quietly and intensely melancholic, whilst the Jobim classic, One Note Samba, is given a cheeky up-tempo treatment. It is a difficult number to handle at such pace with the short-spaced, almost staccato notes. Stacey effortlessly takes the scale runs in her stride. Roberto Menescal’s O Barquinho is given a fresh arrangement and is performed by the composer himself on guitar. \r\n
      \r\n
      Six originals by Jim Tomlinson make up the rest of the album, three written with novelist and lyricist, Kazuo Ishiguro; the sublime title song, The Changing Lights, The Summer We Crossed Europe in the Rain, a story gracefully sung by Ms Kent and Waiter, Oh Waiter, a neat and jaunty request for help in choosing from a French menu. Two songs in Portuguese, Mais Uma Vez and A Tarde, written with poet, Antonio Ladeira, and Chanson Légère, written with Bernie Beaupère, who penned the title track to Stacey’s Raconte-Moi, add yet more flavours to the album. The arrangements and accompaniment of producer and husband, Jim Tomlinson are outstanding. The rhythm section is wonderfully subtle with praise for the percussionists, Josh Morrison and Matt Home, pianist Graham Harvey, bassist, Jeremy Brown and the guitarists, Roberto Menescal and John Parricelli. However, The Changing Lights is Stacey Kent's record first and foremost; impressive and top class.\r\n
      \r\n
      Explaining his and Stacey's musical process, Tomlinson elaborates on Kazuo Ishiguro's thoughts in his liner note of Stacey's 2001 Candid album, In Love Again. "Stacey's style reminds me of the best film actors who, on camera, develop a very different style to that of stage actors who are required to project their voices and gestures in order to express themselves across the space of the theatre. In film, an actor can do a lot with very little, whether in terms of expression, gesture, inflection or tone of voice. With Stacey, I believe that we create music in the same way, where even the smallest gestures have great emotional significance".\r\n
      \r\n
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Stacey Kent (guitar, vocals), Jim Tomlinson (tenor & soprano saxophone, flute), Graham Harvey (piano, Fender Rhodes),  Roberto Menescal, John Parricelli (guitar), Jeremy Brown (double bass), Raymundo Bittencourt (ganza), Matt Home, Joshua Morrison (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=gq1z9FUBxiE"
    -referenceProduit: "Pure Pleasure Records PPAN 17529"
    -titreMorceau: [
      [
        "nom" => "1. Like A Lover"
        "ordre" => 13
      ]
      [
        "nom" => "1. Mais Uma Vez"
        "ordre" => 5
      ]
      [
        "nom" => "1. The Changing Lights"
        "ordre" => 9
      ]
      [
        "nom" => "1. This Happy Madness"
        "ordre" => 1
      ]
      [
        "nom" => "2. How Insensitive"
        "ordre" => 10
      ]
      [
        "nom" => "2. The Face I Love"
        "ordre" => 14
      ]
      [
        "nom" => "2. The Summer We Crossed Europe In The Rain"
        "ordre" => 2
      ]
      [
        "nom" => "2. Waiter, Oh Waiter"
        "ordre" => 6
      ]
      [
        "nom" => "3. A Tarde"
        "ordre" => 15
      ]
      [
        "nom" => "3. O Barquinho"
        "ordre" => 7
      ]
      [
        "nom" => "3. O Bêbado E A Equilibrista / Smile "
        "ordre" => 11
      ]
      [
        "nom" => "3. One Note Samba (Samba De Uma Nota Só) "
        "ordre" => 3
      ]
      [
        "nom" => "4. Chanson Légère"
        "ordre" => 16
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "Side C : "
        "ordre" => 8
      ]
      [
        "nom" => "Side D : "
        "ordre" => 12
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2028 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1902 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2016 …}
    -enregistreLe: DateTime @1404722279 {#1876
      date: 2014-07-07 08:37:59.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1574694632 {#1869
      date: 2019-11-25 15:10:32.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2022 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-changing-lights-pure-pleasure-records-ppan-17529"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2404 …}
}

[
  "produit" => App\Entity\Produit {#2045
    -id: 490
    -nom: "Singin’ The Blues"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      B.B. King (guitar, vocals), Red Callender, Ralph Hamilton, Billy Hadnot (bass guitar), Maxwell Davis, Maurice Simon, Lorenzo Holden, Jack McVea, Charles Waller, Bumps Myers (tenor saxophone), Jewell L. Grant (alto saxophone), Willard McDaniel (piano), Jake Porter (trumpet), Floyd Newman (alto & baritone saxophone), Jesse Price, Jesse Sailes (drums). \r\n
      \r\n
      "Singin' The Blues" was issued as Crown 5020 in spring 1957 and featured some of B.B. King's best-loved songs up to that point. The LP included four #1 R&B hits : '3 O'Clock Blues' and 'You Know I Love You' (1952), 'Please Love Me' (1953) and 'You Upset Me Baby' (1954); four other top ten hits; plus 'Blind Love' from 1953 and covers of Tampa Red's 'Crying Won't Help You' (1955) and Gatemouth Moore's 'Did You Ever Love A Woman' from 1956. \r\n
      \r\n
      To fill out the album, a superior alternate take of 'Sweet Little Angel' was included. As John Broven observes in his notes: "In 1957 "Singin' The Blues" gave the first real indication that B.B. King was destined to be a major star. - Tony Burke\r\n
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "B.B. King (guitar, vocals), Red Callender, Ralph Hamilton, Billy Hadnot (bass guitar), Maxwell Davis, Maurice Simon, Lorenzo Holden, Jack McVea, Charles Waller, Bumps Myers (tenor saxophone), Jewell L. Grant (alto saxophone)…"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=q-fQd3uoPjQ"
    -referenceProduit: "Pure Pleasure Records PPAN CLP 5020"
    -titreMorceau: [
      [
        "nom" => "1. Please Love Me"
        "ordre" => 1
      ]
      [
        "nom" => "1. Woke Up This Morning"
        "ordre" => 8
      ]
      [
        "nom" => "2. You Know I Love You"
        "ordre" => 9
      ]
      [
        "nom" => "2. You Upset Me Baby"
        "ordre" => 2
      ]
      [
        "nom" => "3. Everyday I Have the Blues"
        "ordre" => 3
      ]
      [
        "nom" => "3. Sweet Little Angel"
        "ordre" => 10
      ]
      [
        "nom" => "4. Bad Luck"
        "ordre" => 4
      ]
      [
        "nom" => "4. Ten Long Years"
        "ordre" => 11
      ]
      [
        "nom" => "5. 3 O'Clock Blues"
        "ordre" => 5
      ]
      [
        "nom" => "5. Did You Ever Love a Woman"
        "ordre" => 12
      ]
      [
        "nom" => "6. Blind Love"
        "ordre" => 6
      ]
      [
        "nom" => "6. Crying Won't Help You"
        "ordre" => 13
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 7
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2047 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1436 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2056 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2049 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2051 …}
    -enregistreLe: DateTime @1326180706 {#2042
      date: 2012-01-10 07:31:46.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1574692609 {#2043
      date: 2019-11-25 14:36:49.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2053 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-singin-the-blues-pure-pleasure-records-ppan-clp-5020"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3211
  -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 {#2636 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2045
    -id: 490
    -nom: "Singin’ The Blues"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      B.B. King (guitar, vocals), Red Callender, Ralph Hamilton, Billy Hadnot (bass guitar), Maxwell Davis, Maurice Simon, Lorenzo Holden, Jack McVea, Charles Waller, Bumps Myers (tenor saxophone), Jewell L. Grant (alto saxophone), Willard McDaniel (piano), Jake Porter (trumpet), Floyd Newman (alto & baritone saxophone), Jesse Price, Jesse Sailes (drums). \r\n
      \r\n
      "Singin' The Blues" was issued as Crown 5020 in spring 1957 and featured some of B.B. King's best-loved songs up to that point. The LP included four #1 R&B hits : '3 O'Clock Blues' and 'You Know I Love You' (1952), 'Please Love Me' (1953) and 'You Upset Me Baby' (1954); four other top ten hits; plus 'Blind Love' from 1953 and covers of Tampa Red's 'Crying Won't Help You' (1955) and Gatemouth Moore's 'Did You Ever Love A Woman' from 1956. \r\n
      \r\n
      To fill out the album, a superior alternate take of 'Sweet Little Angel' was included. As John Broven observes in his notes: "In 1957 "Singin' The Blues" gave the first real indication that B.B. King was destined to be a major star. - Tony Burke\r\n
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "B.B. King (guitar, vocals), Red Callender, Ralph Hamilton, Billy Hadnot (bass guitar), Maxwell Davis, Maurice Simon, Lorenzo Holden, Jack McVea, Charles Waller, Bumps Myers (tenor saxophone), Jewell L. Grant (alto saxophone)…"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=q-fQd3uoPjQ"
    -referenceProduit: "Pure Pleasure Records PPAN CLP 5020"
    -titreMorceau: [
      [
        "nom" => "1. Please Love Me"
        "ordre" => 1
      ]
      [
        "nom" => "1. Woke Up This Morning"
        "ordre" => 8
      ]
      [
        "nom" => "2. You Know I Love You"
        "ordre" => 9
      ]
      [
        "nom" => "2. You Upset Me Baby"
        "ordre" => 2
      ]
      [
        "nom" => "3. Everyday I Have the Blues"
        "ordre" => 3
      ]
      [
        "nom" => "3. Sweet Little Angel"
        "ordre" => 10
      ]
      [
        "nom" => "4. Bad Luck"
        "ordre" => 4
      ]
      [
        "nom" => "4. Ten Long Years"
        "ordre" => 11
      ]
      [
        "nom" => "5. 3 O'Clock Blues"
        "ordre" => 5
      ]
      [
        "nom" => "5. Did You Ever Love a Woman"
        "ordre" => 12
      ]
      [
        "nom" => "6. Blind Love"
        "ordre" => 6
      ]
      [
        "nom" => "6. Crying Won't Help You"
        "ordre" => 13
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 7
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2047 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1436 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2056 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2049 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2051 …}
    -enregistreLe: DateTime @1326180706 {#2042
      date: 2012-01-10 07:31:46.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1574692609 {#2043
      date: 2019-11-25 14:36:49.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2053 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-singin-the-blues-pure-pleasure-records-ppan-clp-5020"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2404 …}
}

[
  "produit" => App\Entity\Produit {#2061
    -id: 654
    -nom: "In The Winners Circle"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      John Coltrane (tenor saxophone), Donald Byrd, Art Farmer (trumpet), Frank Rehak (trombone), Gene Quill (alto saxophone), Al Cohn (baritone saxophone), Rolf Kuhn (clarinet), Eddie Costa (piano, vibes), Freddie Green, Kenny Burrell (guitar), Oscar Pettiford (bass), Philly Joe Jones, Ed Thingpen (drums).\r\n
      \r\n
      Rare stuff from John Coltrane! The album features Trane playing tenor on only 4 of the album's 8 tracks making it kind of surprising that they used his name in the title but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career ! The main force behind the album is arranger Harry Tubbs possibly not a name that's as sexy as John Coltrane, hence the billing but a worthy leader for the date, given the quality of the music.\r\n
      \r\n
      Many of the other players here are small combo heroes who can also shine brightly in bigger groups such as Donald Byrd and Art Farmer on trumpets, Kenny Burrell on guitar, Al Cohn on baritone sax, Eddie Costa on piano and vibes, and Oscar Pettiford on bass plus Rolf Kuhn, making an early American appearance on clarinet. Coltrane gets in some nice, but short moments on the date but the bigger charm is the full ensemble work on titles that include "She Didn't Say Yes", "Turtle Walk", "At Home With The Blues", "Seabreeze", and "Love & The Weather".\r\n
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "John Coltrane (tenor saxophone), Donald Byrd, Art Farmer (trumpet), Frank Rehak (trombone), Gene Quill (alto saxophone), Al Cohn (baritone saxophone), Rolf Kuhn (clarinet), Eddie Costa (piano, vibes)…"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: ""
    -referenceProduit: " Pure Pleasure Records BCP 6066"
    -titreMorceau: [
      [
        "nom" => "1. Lazy Afternoon"
        "ordre" => 1
      ]
      [
        "nom" => "1. She Didn't Say Yes"
        "ordre" => 6
      ]
      [
        "nom" => "2. If I'm Lucky (I'll Be the One)"
        "ordre" => 7
      ]
      [
        "nom" => "2. Not So Sleepy"
        "ordre" => 2
      ]
      [
        "nom" => "3. At Home With the Blues"
        "ordre" => 8
      ]
      [
        "nom" => "3. Seabreeze"
        "ordre" => 3
      ]
      [
        "nom" => "4. Love and the Weather"
        "ordre" => 4
      ]
      [
        "nom" => "4. Turtle Walk"
        "ordre" => 9
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 5
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2072 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2065 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2067 …}
    -enregistreLe: DateTime @1381129489 {#2058
      date: 2013-10-07 07:04:49.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1574667131 {#2059
      date: 2019-11-25 07:32:11.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2069 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-in-the-winners-circle-pure-pleasure-records-bcp-6066"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3262
  -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 {#2636 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2061
    -id: 654
    -nom: "In The Winners Circle"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      John Coltrane (tenor saxophone), Donald Byrd, Art Farmer (trumpet), Frank Rehak (trombone), Gene Quill (alto saxophone), Al Cohn (baritone saxophone), Rolf Kuhn (clarinet), Eddie Costa (piano, vibes), Freddie Green, Kenny Burrell (guitar), Oscar Pettiford (bass), Philly Joe Jones, Ed Thingpen (drums).\r\n
      \r\n
      Rare stuff from John Coltrane! The album features Trane playing tenor on only 4 of the album's 8 tracks making it kind of surprising that they used his name in the title but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career ! The main force behind the album is arranger Harry Tubbs possibly not a name that's as sexy as John Coltrane, hence the billing but a worthy leader for the date, given the quality of the music.\r\n
      \r\n
      Many of the other players here are small combo heroes who can also shine brightly in bigger groups such as Donald Byrd and Art Farmer on trumpets, Kenny Burrell on guitar, Al Cohn on baritone sax, Eddie Costa on piano and vibes, and Oscar Pettiford on bass plus Rolf Kuhn, making an early American appearance on clarinet. Coltrane gets in some nice, but short moments on the date but the bigger charm is the full ensemble work on titles that include "She Didn't Say Yes", "Turtle Walk", "At Home With The Blues", "Seabreeze", and "Love & The Weather".\r\n
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "John Coltrane (tenor saxophone), Donald Byrd, Art Farmer (trumpet), Frank Rehak (trombone), Gene Quill (alto saxophone), Al Cohn (baritone saxophone), Rolf Kuhn (clarinet), Eddie Costa (piano, vibes)…"
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: ""
    -referenceProduit: " Pure Pleasure Records BCP 6066"
    -titreMorceau: [
      [
        "nom" => "1. Lazy Afternoon"
        "ordre" => 1
      ]
      [
        "nom" => "1. She Didn't Say Yes"
        "ordre" => 6
      ]
      [
        "nom" => "2. If I'm Lucky (I'll Be the One)"
        "ordre" => 7
      ]
      [
        "nom" => "2. Not So Sleepy"
        "ordre" => 2
      ]
      [
        "nom" => "3. At Home With the Blues"
        "ordre" => 8
      ]
      [
        "nom" => "3. Seabreeze"
        "ordre" => 3
      ]
      [
        "nom" => "4. Love and the Weather"
        "ordre" => 4
      ]
      [
        "nom" => "4. Turtle Walk"
        "ordre" => 9
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 5
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2072 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2065 …}
    -typeMasterTape: null
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    -typeMateriel: null
    -produitTestePar: null
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    -poids: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2067 …}
    -enregistreLe: DateTime @1381129489 {#2058
      date: 2013-10-07 07:04:49.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1574667131 {#2059
      date: 2019-11-25 07:32:11.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2069 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-in-the-winners-circle-pure-pleasure-records-bcp-6066"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2404 …}
}

[
  "produit" => App\Entity\Produit {#2077
    -id: 722
    -nom: "Richland Woman Blues"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Maria Muldaur (vocals), Roly Salley (bass), Alvin Youngblood Hart, Ernie Hawkins, John Sebastian, Roy Rogers (guitar), Bonnie Raitt (guitar, slide guitar), David Wilkie (mandocello), Dave Mathews (piano), Amos Garrett (twelve-string guitar), Alvin Youngblood Hart, Angela Strehli, Maria Muldaur, Tracy Nelson (vocals).\r\n
      \r\n
      Best known for that ditty about camels, Maria Muldaur has since established herself as one of the finest folk/country/jazz/blues/gospel interpreters ever to have a Top Five single. After 26 years and 24 solo albums, Muldaur inspired by a trip to Memphis' Beale Street digs deep into her roots and pays tribute to the classic blues women of the '20s and '30s. Aided by the similarly inclined Bonnie Raitt, Taj Mahal, and Alvin "Youngblood" Hart, Muldaur breezes through 14 tunes from icons Bessie Smith and Memphis Minnie, as well as obscurities from the Reverend Gary Davis, Mississippi John Hurt, and Blind Willie Johnson. \r\n
      \r\n
      Keeping the unplugged accompaniment stripped way down to a single guitar or piano and occasional bass, Muldaur has room to maneuver her evocative vocals that shift from gritty groans to a high-pitched edgy trill. Far from a dry history lesson, these songs are performed with the strength and tenacity of the women who originally sang them. Whether spinning saucy, double entendre lyrics in "Me and My Chauffeur Blues" ("the way you ride so easy, I can't turn you down") or longing for her Southern home after moving north during the Depression in Bessie Smith's "Far Away Blues", the singer remains invigorated and inspired throughout. By returning to her late-'60s Jim Kweskin Jug Band coffeehouse days, Maria Muldaur has discovered her middle-aged oasis with Richland Woman Blues. And there's not a camel in sight.. - Hal Horowitz /AMG\r\n
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Maria Muldaur (vocals), Roly Salley (bass), Alvin Youngblood Hart, Ernie Hawkins, John Sebastian, Roy Rogers (guitar), Bonnie Raitt (guitar, slide guitar), David Wilkie (mandocello), Dave Mathews (piano), Amos Garrett (twelve-string guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=SCrrwnlITGc"
    -referenceProduit: "Pure Pleasure Records PPAN SP 1270"
    -titreMorceau: [
      [
        "nom" => "1. My Man Blues"
        "ordre" => 8
      ]
      [
        "nom" => "1. Richland Woman Blues"
        "ordre" => 1
      ]
      [
        "nom" => "2. Grasshoppers In My Pillow"
        "ordre" => 2
      ]
      [
        "nom" => "2. In My Girlish Days"
        "ordre" => 9
      ]
      [
        "nom" => "3. Far Away Blues"
        "ordre" => 10
      ]
      [
        "nom" => "3. It’s A Blessing"
        "ordre" => 3
      ]
      [
        "nom" => "4. I Got To Move"
        "ordre" => 11
      ]
      [
        "nom" => "4. Me And My Chauffeur Blues"
        "ordre" => 4
      ]
      [
        "nom" => "5. Lonesome Desert Blues"
        "ordre" => 12
      ]
      [
        "nom" => "5. Put It Right Here"
        "ordre" => 5
      ]
      [
        "nom" => "6. I’m Goin’ Back Home"
        "ordre" => 6
      ]
      [
        "nom" => "6. Soul Of A Man"
        "ordre" => 13
      ]
      [
        "nom" => "7. I Belong To That Band"
        "ordre" => 14
      ]
      [
        "nom" => "8. It’s A Blessing (Reprise)"
        "ordre" => 15
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 7
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2079 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1436 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2088 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2081 …}
    -typeMasterTape: null
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    -produitTestePar: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2083 …}
    -enregistreLe: DateTime @1415952427 {#2074
      date: 2014-11-14 08:07:07.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1574665865 {#2075
      date: 2019-11-25 07:11:05.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2085 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-richland-woman-blues-pure-pleasure-records-ppan-sp-1270"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3313
  -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 {#2636 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2077
    -id: 722
    -nom: "Richland Woman Blues"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Maria Muldaur (vocals), Roly Salley (bass), Alvin Youngblood Hart, Ernie Hawkins, John Sebastian, Roy Rogers (guitar), Bonnie Raitt (guitar, slide guitar), David Wilkie (mandocello), Dave Mathews (piano), Amos Garrett (twelve-string guitar), Alvin Youngblood Hart, Angela Strehli, Maria Muldaur, Tracy Nelson (vocals).\r\n
      \r\n
      Best known for that ditty about camels, Maria Muldaur has since established herself as one of the finest folk/country/jazz/blues/gospel interpreters ever to have a Top Five single. After 26 years and 24 solo albums, Muldaur inspired by a trip to Memphis' Beale Street digs deep into her roots and pays tribute to the classic blues women of the '20s and '30s. Aided by the similarly inclined Bonnie Raitt, Taj Mahal, and Alvin "Youngblood" Hart, Muldaur breezes through 14 tunes from icons Bessie Smith and Memphis Minnie, as well as obscurities from the Reverend Gary Davis, Mississippi John Hurt, and Blind Willie Johnson. \r\n
      \r\n
      Keeping the unplugged accompaniment stripped way down to a single guitar or piano and occasional bass, Muldaur has room to maneuver her evocative vocals that shift from gritty groans to a high-pitched edgy trill. Far from a dry history lesson, these songs are performed with the strength and tenacity of the women who originally sang them. Whether spinning saucy, double entendre lyrics in "Me and My Chauffeur Blues" ("the way you ride so easy, I can't turn you down") or longing for her Southern home after moving north during the Depression in Bessie Smith's "Far Away Blues", the singer remains invigorated and inspired throughout. By returning to her late-'60s Jim Kweskin Jug Band coffeehouse days, Maria Muldaur has discovered her middle-aged oasis with Richland Woman Blues. And there's not a camel in sight.. - Hal Horowitz /AMG\r\n
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Maria Muldaur (vocals), Roly Salley (bass), Alvin Youngblood Hart, Ernie Hawkins, John Sebastian, Roy Rogers (guitar), Bonnie Raitt (guitar, slide guitar), David Wilkie (mandocello), Dave Mathews (piano), Amos Garrett (twelve-string guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=SCrrwnlITGc"
    -referenceProduit: "Pure Pleasure Records PPAN SP 1270"
    -titreMorceau: [
      [
        "nom" => "1. My Man Blues"
        "ordre" => 8
      ]
      [
        "nom" => "1. Richland Woman Blues"
        "ordre" => 1
      ]
      [
        "nom" => "2. Grasshoppers In My Pillow"
        "ordre" => 2
      ]
      [
        "nom" => "2. In My Girlish Days"
        "ordre" => 9
      ]
      [
        "nom" => "3. Far Away Blues"
        "ordre" => 10
      ]
      [
        "nom" => "3. It’s A Blessing"
        "ordre" => 3
      ]
      [
        "nom" => "4. I Got To Move"
        "ordre" => 11
      ]
      [
        "nom" => "4. Me And My Chauffeur Blues"
        "ordre" => 4
      ]
      [
        "nom" => "5. Lonesome Desert Blues"
        "ordre" => 12
      ]
      [
        "nom" => "5. Put It Right Here"
        "ordre" => 5
      ]
      [
        "nom" => "6. I’m Goin’ Back Home"
        "ordre" => 6
      ]
      [
        "nom" => "6. Soul Of A Man"
        "ordre" => 13
      ]
      [
        "nom" => "7. I Belong To That Band"
        "ordre" => 14
      ]
      [
        "nom" => "8. It’s A Blessing (Reprise)"
        "ordre" => 15
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 7
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2079 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1436 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2088 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2081 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2083 …}
    -enregistreLe: DateTime @1415952427 {#2074
      date: 2014-11-14 08:07:07.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1574665865 {#2075
      date: 2019-11-25 07:11:05.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2085 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-richland-woman-blues-pure-pleasure-records-ppan-sp-1270"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2404 …}
}

[
  "produit" => App\Entity\Produit {#2093
    -id: 330
    -nom: "Now It'sMy Turn"
    -informationComplementaire: ""
    -description: """
      Arguably the most adventurous female jazz singer of all time, Betty Carter was an idiosyncratic stylist and a restless improviser who pushed the limits of melody and harmony as much as any bebop horn player. The husky-voiced Carter was capable of radical, off-the-cuff re-workings of whatever she sang, abruptly changing tempos and dynamics, or rearranging the lyrics into distinctive, off-the-beat rhythmic patterns. She could solo for 20 minutes, scat at lightning speed, or drive home an emotion with wordless, bluesy moans and sighs. She wasn't quite avant-garde, but she was definitely "out". Yet as much as Carter was fascinated by pure, abstract sound, she was also a sensitive lyric interpreter when she chose, a tender and sensual ballad singer sometimes given to suggestive asides. \r\n
      \r\n
      Her wild unpredictability kept her marginalized for much of her career, and she never achieved the renown of peers like Ella Fitzgerald, Sarah Vaughan, or Carmen McRae. What was more, her exacting musical standards and assertive independence limited her recorded output somewhat. But Carter stuck around long enough to receive her proper due; her unwillingness to compromise eventually earned her the respect of the wider jazz audience, and many critics regarded her as perhaps the purest jazz singer active in the '80s and '90s. - AMG / Steve Huey\r\n
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: "Betty Carter (vocals), John Hicks (piano), Walter Booker (bass), Eddie Moore (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: ""
    -referenceProduit: "Pure Pleasure Records PPAN 5005"
    -titreMorceau: [
      [
        "nom" => "1. Most Gentlemen Don't Like Love"
        "ordre" => 7
      ]
      [
        "nom" => "1. Music Maestro, Please"
        "ordre" => 1
      ]
      [
        "nom" => "2. Making Dreams Come True"
        "ordre" => 8
      ]
      [
        "nom" => "2. Swing Brother Swing"
        "ordre" => 2
      ]
      [
        "nom" => "3. I was Telling Him About You"
        "ordre" => 3
      ]
      [
        "nom" => "3. Open the Door"
        "ordre" => 9
      ]
      [
        "nom" => "4. Just Friends / Star Eyes (Medley)"
        "ordre" => 10
      ]
      [
        "nom" => "4. Wagon Wheels"
        "ordre" => 4
      ]
      [
        "nom" => "5. New Blues (You Purr)"
        "ordre" => 5
      ]
      [
        "nom" => "5. No More Words"
        "ordre" => 11
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2095 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2104 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2097 …}
    -typeMasterTape: null
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    -description: "The numbers heard on Chet Baker & Crew were among a prolific flurry of recordings Baker was involved in during the last week of July 1956 - fresh from an extended European stay. The crew on these sides includes Phil Urso (tenor sax), Bobby Timmons (piano), Jimmy Bond (bass), Peter Littman (drums) and of course Baker (trumpet/vocals). Joining the combo on both the original as well as the alternate take of "To Mickey's Memory" and "Pawnee Junction" is Bill Loughbrough (chromatic tympani). His unmistakable percussive accents and tuned drum solos give these West Coast bop tracks uniquely Polynesian intonations. This LP reissue of Chet Baker & Crew increases the original eight-song Pacific Jazz collection to include all 14 tracks complete during three sessions in late July 1956 at the Forum Theater in Los Angeles."
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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    -disponible: null
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[
  "produit" => App\Entity\Produit {#2141
    -id: 279
    -nom: "Duke Ellington's 70th Birthday Concert"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Duke Ellington (piano), Victor Gaskin (bass), Johnny Hodges (saxophones), Russell Procope, Norris Turney, Paul Gonsalves, Harold Ashby, Harry Carney (trumpet), Cat Anderson, Cootie Williams, Rolf Ericson, Mercer Ellington (trombone), Lawrence Brown, Chcuck Connors (organ), Wild Bill Davis (piano), Rufus “Speedy” Jones (drums).\r\n
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      Outside there was the rain and the bone-freezing chill of November in Manchester, England. Inside the concert hall it was warm and it was beautiful. Duke was alive and well, and his orchestra was playing with all the flaring genius that has entranced us since first this musical miracle of our century found his vocation of band-leader extraordinary fifty years ago.\r\n
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      The men in the small back room, engaged with dials and consoles and tuners, were the United Artists production team who helped to create this album from the concerts at Manchester and at Bristol. Duke, sitting there easily, eyes closed, smiling like some great all-wise Buddha, seemed pleased with what he heard. From time to time he would say “beautiful !” to some flight of Johnny Hodges’ or Cootie’s. That is how this album is : Beautiful.\r\n
      \r\n
      Except from the sleeve notes by Derek Jewell, Jazz / Pop Critic, The Sunday Times, This double LP ranks as one of Duke Ellington’s finest recordings of his final decade. The live performance gives listeners a good idea as to just how Duke’s ensemble sounded in concert, and it serves as both a retrospective and a display of the strengths of Ellington’s mighty band. Among the many highlights are definitive renditions of "Rockin' in Rhythm" and "Take the 'A' Train" (the latter has some wonderful Cootie Williams trumpet), a few features for altoist Johnny Hodges, a tenor battle on "In Triplicate," a few guest spots for organist Wild Bill Davis, and a 16-and-a-half-minute, nine-song medley that really works well. The most memorable chorus of all is an incredible high-note display by Cat Anderson on "Satin Doll" that is arguably his most miraculous solo ever; each note he hits is virtually impossible to play on the trumpet, and is in tune, too. This gem is essential for all serious jazz collections. - AMG / Scott Yanow\r\n
      \r\n
      \r\n
      \r\n
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=SuEe4yuboGU"
    -referenceProduit: "Pure Pleasure Records PPAN UAD 60001"
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App\Twig\Components\GestionPanierFavoriComponents {#3517
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    -id: 279
    -nom: "Duke Ellington's 70th Birthday Concert"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Duke Ellington (piano), Victor Gaskin (bass), Johnny Hodges (saxophones), Russell Procope, Norris Turney, Paul Gonsalves, Harold Ashby, Harry Carney (trumpet), Cat Anderson, Cootie Williams, Rolf Ericson, Mercer Ellington (trombone), Lawrence Brown, Chcuck Connors (organ), Wild Bill Davis (piano), Rufus “Speedy” Jones (drums).\r\n
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      Outside there was the rain and the bone-freezing chill of November in Manchester, England. Inside the concert hall it was warm and it was beautiful. Duke was alive and well, and his orchestra was playing with all the flaring genius that has entranced us since first this musical miracle of our century found his vocation of band-leader extraordinary fifty years ago.\r\n
      It was one of the many nights to remember during the orchestra’s British and European tour of 1969. Duke played two concerts that evening, each approaching two and a half hours in duration, each without intervals. At the second show he regaled the audience with 32 separate compositions, stayed on stage to do an encore with quartet only, after Johnny Hodges had led the exhausted orchestra away, and then, past midnight, went into a small back room to listen to the whole rumbustious evening played back to him on tape. \r\n
      \r\n
      \r\n
      The men in the small back room, engaged with dials and consoles and tuners, were the United Artists production team who helped to create this album from the concerts at Manchester and at Bristol. Duke, sitting there easily, eyes closed, smiling like some great all-wise Buddha, seemed pleased with what he heard. From time to time he would say “beautiful !” to some flight of Johnny Hodges’ or Cootie’s. That is how this album is : Beautiful.\r\n
      \r\n
      Except from the sleeve notes by Derek Jewell, Jazz / Pop Critic, The Sunday Times, This double LP ranks as one of Duke Ellington’s finest recordings of his final decade. The live performance gives listeners a good idea as to just how Duke’s ensemble sounded in concert, and it serves as both a retrospective and a display of the strengths of Ellington’s mighty band. Among the many highlights are definitive renditions of "Rockin' in Rhythm" and "Take the 'A' Train" (the latter has some wonderful Cootie Williams trumpet), a few features for altoist Johnny Hodges, a tenor battle on "In Triplicate," a few guest spots for organist Wild Bill Davis, and a 16-and-a-half-minute, nine-song medley that really works well. The most memorable chorus of all is an incredible high-note display by Cat Anderson on "Satin Doll" that is arguably his most miraculous solo ever; each note he hits is virtually impossible to play on the trumpet, and is in tune, too. This gem is essential for all serious jazz collections. - AMG / Scott Yanow\r\n
      \r\n
      \r\n
      \r\n
      \r\n
      \r\n
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
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[
  "produit" => App\Entity\Produit {#2157
    -id: 496
    -nom: "Dreamsville"
    -informationComplementaire: ""
    -description: """
      Vocalist Stacey Kent may or may not be "the greatest ballad singer in half a century," as her PR claims, but her straightforward renditions of these by-request ballads are not at all generic. What makes them consistently delightful is her unique sound and delivery. There's a certain brassiness, a trumpet-like pointedness, in her voice, as well as a host of endearing idiosyncrasies. Kent knows how to make every tune fit her own musical persona.. Dreamsville includes a number of seldom-heard gems, particularly "You Are There" by Johnny Mandel and Dave Frishberg, "You're Looking at Me" by Bobby Troup, and the ever-stunning title track by Henry Mancini. She also presents perennial favorites like "Polka Dots and Moonbeams" and "Thanks for the Memory" (the latter not exactly a ballad). And although this is Kent's hour all the way, her band provides expert backing and more than a few surprises.\r\n
      \r\n
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      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1114 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1897 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3570
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2636 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2157
    -id: 496
    -nom: "Dreamsville"
    -informationComplementaire: ""
    -description: """
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      The singer's husband, Jim Tomlinson, takes a break from tenor sax to play a sumptuous clarinet solo on "Polka Dots". And in the midst of Rodgers & Hart's "Little Girl Blue", pianist David Newton, bassist Simon Thorpe, and drummer Jasper Kviberg fall away, entering again only after Tomlinson and Colin Oxley perform a hushed tenor/guitar duet chorus.
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[
  "produit" => App\Entity\Produit {#2170
    -id: 1692
    -nom: "Close Your Eyes"
    -informationComplementaire: ""
    -description: """
      Remastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\r\n
      \r\n
      "It was one day in 1996 when a demo set turned up in my BBC post-bag, one of many that I receive in my capacity of jazz radio presenter. The singer's name, Stacey Kent, was new to me, and the cassette sat on my desk for weeks taunting my conscience until, faced with a long car trip, I gathered it up with a variety of other tapes and transferred it to my car. On the road, it happened to be the first tape I picked up from the heap on the passenger seat and the last. The singing held me riveted for the rest of the outgoing journey and throughout the return trip the next day. Now the invitation to write a note for this debut album calls upon me to analyse the cause of this rush of enthusiasm to the head.\r\n
      \r\n
      Let's start with the 'feel'. Stacey Kent grew up in New York, exposed to the music of Frank Sinatra, Nat 'King' Cole, and the jazz masters of the Swing Era. Before she thought of adopting a singing career, she had come to love the repertoire of American popular song, much of which had been established decades before she was born. And it shows in every note she sings.\r\n
      \r\n
      The next stage in my analysis leads me to 'style', that elusive quality which identifies an artist's handling of the subject matter. Many popular songs through the ages have survived as 'standards' largely through the attention of jazz or jazz influenced performers. To appreciate Stacey's command of style, listen to 'Day in, Day Out' and hear the natural ease with which she varies the recurring pattern of the song's title.\r\n
      \r\n
      Swing, elegant variation, impeccable pitch and diction these are all the stock in-trade of an accomplished jazz singer, and to combine them all is an achievement in itself. What makes Stacey Kent so remarkable is her 'sound'. The voice itself is an impressive instrument, in pitch and timbre coming closer to Mildred Bailey than to her acknowledged idols, Billie Holiday and Ella Fitzgerald. Strong and clear, it has the invigorating tang of Vermouth.\r\n
      \r\n
      Of course, all the magic hitherto described could be subverted by inappropriate or insensitive accompaniment.\r\n
      \r\n
      Stacey is richly served by her quintet here. The partnership between her voice and Jim Tomlinson's tenor saxophone is sublime. The latter captures the spirit rather than the substance of Lester Young, whose way it was, not to expand a tune with complex harmonic exploration, but to probe for the essence of it. Listening to Jim's solos such as in 'Sleep Warm', the irrelevant padding, no pressing need to launch into paraphrase until the moment is ripe.\r\n
      \r\n
      So perfect is the integration of the group as a whole that, as a rhythm section David Newton, Colin Oxley, Andy Cleyndert and Steve Brown respond with faultless sensitivity, born of experience, to the mood of each song. Solos everywhere are of the highest class, with 'Dream Dancing' especially evoking intoxicating stuff from piano and guitar. For me, nothing sums up the rapport and cohesion of the team more concisely than the warmly relaxed bossa nova treatment of 'Close Your Eyes' a shameless exercise in group seduction.\r\n
      "I can't conceive of a more auspicious debut than this". - Humprey Lyttelton, liner notes\r\n
      """
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App\Twig\Components\GestionPanierFavoriComponents {#3618
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    -id: 1692
    -nom: "Close Your Eyes"
    -informationComplementaire: ""
    -description: """
      Remastered by Ray Staff at Air Mastering, Lyndhurst Hall, London\r\n
      \r\n
      "It was one day in 1996 when a demo set turned up in my BBC post-bag, one of many that I receive in my capacity of jazz radio presenter. The singer's name, Stacey Kent, was new to me, and the cassette sat on my desk for weeks taunting my conscience until, faced with a long car trip, I gathered it up with a variety of other tapes and transferred it to my car. On the road, it happened to be the first tape I picked up from the heap on the passenger seat and the last. The singing held me riveted for the rest of the outgoing journey and throughout the return trip the next day. Now the invitation to write a note for this debut album calls upon me to analyse the cause of this rush of enthusiasm to the head.\r\n
      \r\n
      Let's start with the 'feel'. Stacey Kent grew up in New York, exposed to the music of Frank Sinatra, Nat 'King' Cole, and the jazz masters of the Swing Era. Before she thought of adopting a singing career, she had come to love the repertoire of American popular song, much of which had been established decades before she was born. And it shows in every note she sings.\r\n
      \r\n
      The next stage in my analysis leads me to 'style', that elusive quality which identifies an artist's handling of the subject matter. Many popular songs through the ages have survived as 'standards' largely through the attention of jazz or jazz influenced performers. To appreciate Stacey's command of style, listen to 'Day in, Day Out' and hear the natural ease with which she varies the recurring pattern of the song's title.\r\n
      \r\n
      Swing, elegant variation, impeccable pitch and diction these are all the stock in-trade of an accomplished jazz singer, and to combine them all is an achievement in itself. What makes Stacey Kent so remarkable is her 'sound'. The voice itself is an impressive instrument, in pitch and timbre coming closer to Mildred Bailey than to her acknowledged idols, Billie Holiday and Ella Fitzgerald. Strong and clear, it has the invigorating tang of Vermouth.\r\n
      \r\n
      Of course, all the magic hitherto described could be subverted by inappropriate or insensitive accompaniment.\r\n
      \r\n
      Stacey is richly served by her quintet here. The partnership between her voice and Jim Tomlinson's tenor saxophone is sublime. The latter captures the spirit rather than the substance of Lester Young, whose way it was, not to expand a tune with complex harmonic exploration, but to probe for the essence of it. Listening to Jim's solos such as in 'Sleep Warm', the irrelevant padding, no pressing need to launch into paraphrase until the moment is ripe.\r\n
      \r\n
      So perfect is the integration of the group as a whole that, as a rhythm section David Newton, Colin Oxley, Andy Cleyndert and Steve Brown respond with faultless sensitivity, born of experience, to the mood of each song. Solos everywhere are of the highest class, with 'Dream Dancing' especially evoking intoxicating stuff from piano and guitar. For me, nothing sums up the rapport and cohesion of the team more concisely than the warmly relaxed bossa nova treatment of 'Close Your Eyes' a shameless exercise in group seduction.\r\n
      "I can't conceive of a more auspicious debut than this". - Humprey Lyttelton, liner notes\r\n
      """
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    ]
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    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
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[
  "produit" => App\Entity\Produit {#2185
    -id: 1378
    -nom: "Konitz Meets Mulligan"
    -informationComplementaire: ""
    -description: """
      O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the bariton, Konitz on alto, and yes Chet Baker on trumpet. How can you pass this up ? \r\n
      But this is more than an artefact.\r\n
      \r\n
      This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other,support and - in a gentle way challenge each other. \r\n
      And, of course, in a few cuts, Baker's sweet trumpet announces itself and joins the two sax players in their explorations. The now-unheralded but extremely deft Carson Smith takes on most of the bass responsibilities, and provides - along with Larry Bunker on drums - a solid stage for Baker, Mulligan, and Konitz to swing on.\r\n
      \r\n
      Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas. \r\n
      Mono - so what ? This is a treasure from the vaults of Pacific Jazz.\r\n
      \r\n
      \r\n
      \r\n
      Recording : January 1953 at The Haig, Los Angeles, by Richard Bock in mono\r\n
      Production : Richard Bock
      """
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
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    -extraitYoutube: "www.youtube.com/watch?v=nDpj8FjXrsw"
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App\Twig\Components\GestionPanierFavoriComponents {#3664
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2636 …}
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  +produit: App\Entity\Produit {#2185
    -id: 1378
    -nom: "Konitz Meets Mulligan"
    -informationComplementaire: ""
    -description: """
      O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the bariton, Konitz on alto, and yes Chet Baker on trumpet. How can you pass this up ? \r\n
      But this is more than an artefact.\r\n
      \r\n
      This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other,support and - in a gentle way challenge each other. \r\n
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      \r\n
      Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas. \r\n
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      \r\n
      \r\n
      \r\n
      Recording : January 1953 at The Haig, Los Angeles, by Richard Bock in mono\r\n
      Production : Richard Bock
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    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2191 …}
    -enregistreLe: DateTime @1540234411 {#2181
      date: 2018-10-22 18:53:31.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1574060036 {#2180
      date: 2019-11-18 06:53:56.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2193 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-konitz-meets-mulligan-pure-pleasure-records-ppan-pj38"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2404 …}
}

[
  "produit" => App\Entity\Produit {#2201
    -id: 1477
    -nom: "Cab Calloway"
    -informationComplementaire: ""
    -description: "From 1932 to the late 1940’s, the period covered by this set, Cab had an orchestra that was about as swinging a band of solid senders as you’d find on the big-band circuit. Cab projects, in his singing on records, something of the vital magic of his stage presence, a boundless exuberance and enthusiasm. His orchestral backing during the Thirties and Forties included many well-known names in jazz. At various times, Milt Hinton, Danny Barker and Cozy Cole were in his rhythm section. The reeds included the late, great Chu Berry as well as Ben Webster. Dizzy Gillespie was in the band, some members of which, at odd moments, served as a laboratory for the style to be called Bop. “This whole new chord structure idea was interesting to me”, Milt Hinton recalled, “and I would walk the new chords behind his playing”... The main attraction, however, was always Cab showman, singer, entertainer. Most audiences didn’t even know that some of his sidemen were candidates for the jazz hall of fame. And that was as it should be. The musicians’ first function was to provide musical backing and a musical setting for the man who was being called “King of the Hipsters”, and this they did, wonderfully well. It was as Barry Ulanov noted in Metronome (January, 1943) a band extraordinary in every respect, hailed for its “clean musicianship, its jazz kicks, its brilliant showmanship”. - Excerpt from the sleeve notes by Charles Edward Smith\r\n"
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=8mq4UT4VnbE"
    -referenceProduit: "Pure Pleasure Records PPAN 3265"
    -titreMorceau: [
      [
        "nom" => "1. Minnie the Moocher (Theme song)"
        "ordre" => 8
      ]
      [
        "nom" => "1. St. James Infirmary"
        "ordre" => 1
      ]
      [
        "nom" => "2. The Ghost of Smokey Joe"
        "ordre" => 9
      ]
      [
        "nom" => "2. The Honeydripper"
        "ordre" => 2
      ]
      [
        "nom" => "3. Blues In the Night (My Mama Done Tol' Me)"
        "ordre" => 3
      ]
      [
        "nom" => "3. Let's Take the Long Way Home"
        "ordre" => 10
      ]
      [
        "nom" => "4. Miss Otis Regrets (She's Unable to Lunch Today)"
        "ordre" => 4
      ]
      [
        "nom" => "4. Utt Da Zay (The Tailor's Song)"
        "ordre" => 11
      ]
      [
        "nom" => "5. Chop, Chop, Charlie Chan (from China)"
        "ordre" => 5
      ]
      [
        "nom" => "5. Geechy Joe"
        "ordre" => 12
      ]
      [
        "nom" => "6. (Hep-Hep!) The Jumpin' Jive"
        "ordre" => 6
      ]
      [
        "nom" => "6. Eadie Was A Lady"
        "ordre" => 13
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 7
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2203 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2212 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2205 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2207 …}
    -enregistreLe: DateTime @1545118107 {#2198
      date: 2018-12-18 07:28:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1574009701 {#2199
      date: 2019-11-17 16:55:01.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2209 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-cab-calloway-pure-pleasure-records-ppan-3265"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3715
  -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 {#2636 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1811 …}
  +produit: App\Entity\Produit {#2201
    -id: 1477
    -nom: "Cab Calloway"
    -informationComplementaire: ""
    -description: "From 1932 to the late 1940’s, the period covered by this set, Cab had an orchestra that was about as swinging a band of solid senders as you’d find on the big-band circuit. Cab projects, in his singing on records, something of the vital magic of his stage presence, a boundless exuberance and enthusiasm. His orchestral backing during the Thirties and Forties included many well-known names in jazz. At various times, Milt Hinton, Danny Barker and Cozy Cole were in his rhythm section. The reeds included the late, great Chu Berry as well as Ben Webster. Dizzy Gillespie was in the band, some members of which, at odd moments, served as a laboratory for the style to be called Bop. “This whole new chord structure idea was interesting to me”, Milt Hinton recalled, “and I would walk the new chords behind his playing”... The main attraction, however, was always Cab showman, singer, entertainer. Most audiences didn’t even know that some of his sidemen were candidates for the jazz hall of fame. And that was as it should be. The musicians’ first function was to provide musical backing and a musical setting for the man who was being called “King of the Hipsters”, and this they did, wonderfully well. It was as Barry Ulanov noted in Metronome (January, 1943) a band extraordinary in every respect, hailed for its “clean musicianship, its jazz kicks, its brilliant showmanship”. - Excerpt from the sleeve notes by Charles Edward Smith\r\n"
    -prixVente: "34.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1865 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1113 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1118 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1120 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=8mq4UT4VnbE"
    -referenceProduit: "Pure Pleasure Records PPAN 3265"
    -titreMorceau: [
      [
        "nom" => "1. Minnie the Moocher (Theme song)"
        "ordre" => 8
      ]
      [
        "nom" => "1. St. James Infirmary"
        "ordre" => 1
      ]
      [
        "nom" => "2. The Ghost of Smokey Joe"
        "ordre" => 9
      ]
      [
        "nom" => "2. The Honeydripper"
        "ordre" => 2
      ]
      [
        "nom" => "3. Blues In the Night (My Mama Done Tol' Me)"
        "ordre" => 3
      ]
      [
        "nom" => "3. Let's Take the Long Way Home"
        "ordre" => 10
      ]
      [
        "nom" => "4. Miss Otis Regrets (She's Unable to Lunch Today)"
        "ordre" => 4
      ]
      [
        "nom" => "4. Utt Da Zay (The Tailor's Song)"
        "ordre" => 11
      ]
      [
        "nom" => "5. Chop, Chop, Charlie Chan (from China)"
        "ordre" => 5
      ]
      [
        "nom" => "5. Geechy Joe"
        "ordre" => 12
      ]
      [
        "nom" => "6. (Hep-Hep!) The Jumpin' Jive"
        "ordre" => 6
      ]
      [
        "nom" => "6. Eadie Was A Lady"
        "ordre" => 13
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 7
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2203 …}
    -label: Proxies\__CG__\App\Entity\Label {#1911 …}
    -style: App\Entity\Style {#1449 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2212 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2205 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2207 …}
    -enregistreLe: DateTime @1545118107 {#2198
      date: 2018-12-18 07:28:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1574009701 {#2199
      date: 2019-11-17 16:55:01.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1046 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2209 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-cab-calloway-pure-pleasure-records-ppan-3265"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2404 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3916
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2404 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3917 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3965 …}
  +isValidated: false
  +validatedFields: []
}