Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2510
  -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 {#2357 …}
}

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

App\Twig\Components\ListePanier {#2587
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2590 …}
  -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 {#2589 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1887 …}
  +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 {#2357 …}
  -formView: Symfony\Component\Form\FormView {#2626 …}
  -form: Symfony\Component\Form\Form {#2776 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1889
    -id: 2136
    -nom: "Chet Baker in Paris, Vol. 2"
    -informationComplementaire: null
    -description: """
      - Limited edition 180 gram French reissue !\r\n
      - Remastered from the original master tapes !\r\n
      - Pressed by Optimal in Germany; artwork using the original photos !\r\n
      \r\n
      In the tradition of labels wholly devoted to vinyl re-pressing, Sam Records puts out a product of top-notch musical and visual quality. Sam Records uses only master tapes and re-creates record covers using the original photographs, paintings and / or drawings. That generally involves some painstaking detective work, so it's a job for conscientious professionals, not corner-cutting amateurs.\r\n
      \r\n
      This Chet Baker reissue uses the original photos from Jean-Pierre Leloir, and is remastered from the original master tapes. Edition limited to 750 copies, on 180 gram vinyl pressed by Optimal in Germany.\r\n
      \r\n
      This LP comes with a large-sized high-quality print of a photograph from the archives of Jean-Pierre Leloir. \r\n
      \r\n
      The session was recorded at Studio Pathe-Magellan in Paris, Monday, October 24, 1955. By that date only Jimmy Bond was still with Chet. Peter Littman had returned to America, and his seat was now occupied by Nils-Bertil "Bert" Dahlander, a Swedish drummer who'd accompanied Lars Gullin. At the keyboard was an almost-unknown pianist named Gerard Gustin who'd just been signed to a contract by Eddie Barclay. Given the context, they were obliged to fall back on standards. Chet knew how to play these better than anyone. He chose eight : "These Foolish Things", which stayed in his quartet's repertoire for a while; plus five others that the trumpeter performs here for the first time "There's a Small Hotel", "Autumn In New York", "Summertime", "You Go To My Head", "Tenderly"; and two "I'll Remember April" and "Lover Man" that he'd done less than ten days earlier together with Lars Gullin and Dick Twardzik, whose disappearance was still something Chet refused to accept. Given this state of affairs, the whole session exudes a kind of sadness that's impossible to put down, whatever the choice of tune or tempo.
      """
    -prixVente: "42.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Chet Baker (trumpet), Gérard Gustin (piano), Jimmy Bond (bass), Bert Dahlander (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=YtermxsLnYQ"
    -referenceProduit: "Sam Records Barclay 84017"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Summertime "
        "ordre" => 1
      ]
      [
        "nom" => "2. You Go to My Head "
        "ordre" => 2
      ]
      [
        "nom" => "3. Tenderly "
        "ordre" => 3
      ]
      [
        "nom" => "4. Lover Man"
        "ordre" => 4
      ]
      [
        "nom" => "Side B : "
        "ordre" => 5
      ]
      [
        "nom" => "1. Small Hotel "
        "ordre" => 6
      ]
      [
        "nom" => "2. I'll Remember April "
        "ordre" => 7
      ]
      [
        "nom" => "3. These Foolish Things "
        "ordre" => 8
      ]
      [
        "nom" => "4. Autumn In New York"
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1914 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2015 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1917 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2003 …}
    -enregistreLe: DateTime @1632726647 {#1879
      date: 2021-09-27 07:10:47.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1761294368 {#1872
      date: 2025-10-24 08:26:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2009 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-chet-baker-in-paris-vol-2-sam-records-barclay-84017"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3051
  -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 {#2589 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1887 …}
  +produit: App\Entity\Produit {#1889
    -id: 2136
    -nom: "Chet Baker in Paris, Vol. 2"
    -informationComplementaire: null
    -description: """
      - Limited edition 180 gram French reissue !\r\n
      - Remastered from the original master tapes !\r\n
      - Pressed by Optimal in Germany; artwork using the original photos !\r\n
      \r\n
      In the tradition of labels wholly devoted to vinyl re-pressing, Sam Records puts out a product of top-notch musical and visual quality. Sam Records uses only master tapes and re-creates record covers using the original photographs, paintings and / or drawings. That generally involves some painstaking detective work, so it's a job for conscientious professionals, not corner-cutting amateurs.\r\n
      \r\n
      This Chet Baker reissue uses the original photos from Jean-Pierre Leloir, and is remastered from the original master tapes. Edition limited to 750 copies, on 180 gram vinyl pressed by Optimal in Germany.\r\n
      \r\n
      This LP comes with a large-sized high-quality print of a photograph from the archives of Jean-Pierre Leloir. \r\n
      \r\n
      The session was recorded at Studio Pathe-Magellan in Paris, Monday, October 24, 1955. By that date only Jimmy Bond was still with Chet. Peter Littman had returned to America, and his seat was now occupied by Nils-Bertil "Bert" Dahlander, a Swedish drummer who'd accompanied Lars Gullin. At the keyboard was an almost-unknown pianist named Gerard Gustin who'd just been signed to a contract by Eddie Barclay. Given the context, they were obliged to fall back on standards. Chet knew how to play these better than anyone. He chose eight : "These Foolish Things", which stayed in his quartet's repertoire for a while; plus five others that the trumpeter performs here for the first time "There's a Small Hotel", "Autumn In New York", "Summertime", "You Go To My Head", "Tenderly"; and two "I'll Remember April" and "Lover Man" that he'd done less than ten days earlier together with Lars Gullin and Dick Twardzik, whose disappearance was still something Chet refused to accept. Given this state of affairs, the whole session exudes a kind of sadness that's impossible to put down, whatever the choice of tune or tempo.
      """
    -prixVente: "42.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Chet Baker (trumpet), Gérard Gustin (piano), Jimmy Bond (bass), Bert Dahlander (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=YtermxsLnYQ"
    -referenceProduit: "Sam Records Barclay 84017"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Summertime "
        "ordre" => 1
      ]
      [
        "nom" => "2. You Go to My Head "
        "ordre" => 2
      ]
      [
        "nom" => "3. Tenderly "
        "ordre" => 3
      ]
      [
        "nom" => "4. Lover Man"
        "ordre" => 4
      ]
      [
        "nom" => "Side B : "
        "ordre" => 5
      ]
      [
        "nom" => "1. Small Hotel "
        "ordre" => 6
      ]
      [
        "nom" => "2. I'll Remember April "
        "ordre" => 7
      ]
      [
        "nom" => "3. These Foolish Things "
        "ordre" => 8
      ]
      [
        "nom" => "4. Autumn In New York"
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1914 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2015 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1917 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2003 …}
    -enregistreLe: DateTime @1632726647 {#1879
      date: 2021-09-27 07:10:47.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1761294368 {#1872
      date: 2025-10-24 08:26:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2009 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-chet-baker-in-paris-vol-2-sam-records-barclay-84017"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2357 …}
}

[
  "produit" => App\Entity\Produit {#2034
    -id: 597
    -nom: "Byrd In Paris"
    -informationComplementaire: null
    -description: """
      - Recorded October 22, 1958, Olympia hall, Paris.\r\n
      - Original LP issue : Brunswick 87 903.\r\n
      \r\n
      “They’d been living in Europe for months. They’d appeared in Cannes and at Knokke (…) yet the only thing missing was the consecration that a great concert in Paris would bring. They won that last battle with astounding brio, in front of an audience of connoisseurs. There were many there who thought modern jazz had never been so well- served in Paris.” (Jazz Magazine). Hard bop had arrived! Hallelujah! On its first French appearance, in July ‘58 at the Cannes Festival – the first and only Cannes jazz festival – the Donald Byrd Quintet had brought the house down. Yet four of its five members were relatively unknown in France… The French knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins was the Messengers’ bassist, and that pianist Walter Davis Jr. was still only 18 when he’d played with Charlie Parker. As for Art Taylor, even if his name meant something to fans, it was still difficult for people to have a more precise idea of his musical qualities. Only Bobby Jaspar was well-known to Paris audiences, and the tour marked the return of the prodigal son, the musician who’d decided, after setting the Club St. Germain on fire, to try his luck in the States early in 1956 – J.J. Johnson had hired him, and then Miles Davis (for a short spell) before Donald Byrd brought him into the group he was taking to Europe. This new tour would climax at the Olympia theatre during one of the “Jazz Wednesdays” that were organised there, ever since the Jazz At Carnegie Hall” tour – Zoot Sims, JJ. Johnson, Lee Konitz, Phineas Newborn – had inaugurated the series a little earlier. Byrd and his band took pains not to disappoint a Paris audience they knew to be particularly fickle, and they astutely varied the public’s pleasures throughout the evening. The complicity that united the rhythm section – Walter Davis Jr., Doug Watkins and Art Taylor – was much in evidence on Ray’s Idea; mistrusting the traps of the spectacular at all costs, Donald Byrd, producing brilliant inventions on the trumpet, took the lion’s share of the honours on a theme that was then much in fashion, Dear Old Stockholm, adapted from a Swedish traditional song; on Flute Blues, Bobby Jaspar proved he was still a specialist on that instrument, and Paul’s Pal showed that, on tenor, the playing of Sonny Rollins hadn’t gone unnoticed. It must be said that it didn’t have much effect on the discreet lyricism underlying the choruses he played during his “St. Germain” period. The Olympia spectators weren’t sparing in their applause for the five musicians. How else could they have reacted, faced with the fire the band showed during a tune like The Blues Walk? It wouldn’t take much for us to applaud, too, even if it is fifty-five years later…\r\n
      Text – Alain Tercinet
      """
    -prixVente: "42.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Donald Byrd (Trumpet), Bobby Jaspar (flute, tenor saxophone), Walter Davis Jr. (piano), Doug Watkins (bass) Art Taylor (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=gACVYZ3E4Bs"
    -referenceProduit: "Sam Records SRLP 101"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. Dear Old Stockholm"
        "ordre" => 1
      ]
      [
        "nom" => "2. Paul’s Pal"
        "ordre" => 2
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "1. Flute Blues"
        "ordre" => 4
      ]
      [
        "nom" => "2. Ray’s Idea"
        "ordre" => 5
      ]
      [
        "nom" => "3. The Blues Walk "
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2036 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2045 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2038 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2040 …}
    -enregistreLe: DateTime @1366837341 {#2030
      date: 2013-04-24 21:02:21.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1761259782 {#2029
      date: 2025-10-23 22:49:42.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2042 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-byrd-in-paris-sam-records-srlp-101"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3165
  -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 {#2589 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1887 …}
  +produit: App\Entity\Produit {#2034
    -id: 597
    -nom: "Byrd In Paris"
    -informationComplementaire: null
    -description: """
      - Recorded October 22, 1958, Olympia hall, Paris.\r\n
      - Original LP issue : Brunswick 87 903.\r\n
      \r\n
      “They’d been living in Europe for months. They’d appeared in Cannes and at Knokke (…) yet the only thing missing was the consecration that a great concert in Paris would bring. They won that last battle with astounding brio, in front of an audience of connoisseurs. There were many there who thought modern jazz had never been so well- served in Paris.” (Jazz Magazine). Hard bop had arrived! Hallelujah! On its first French appearance, in July ‘58 at the Cannes Festival – the first and only Cannes jazz festival – the Donald Byrd Quintet had brought the house down. Yet four of its five members were relatively unknown in France… The French knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins was the Messengers’ bassist, and that pianist Walter Davis Jr. was still only 18 when he’d played with Charlie Parker. As for Art Taylor, even if his name meant something to fans, it was still difficult for people to have a more precise idea of his musical qualities. Only Bobby Jaspar was well-known to Paris audiences, and the tour marked the return of the prodigal son, the musician who’d decided, after setting the Club St. Germain on fire, to try his luck in the States early in 1956 – J.J. Johnson had hired him, and then Miles Davis (for a short spell) before Donald Byrd brought him into the group he was taking to Europe. This new tour would climax at the Olympia theatre during one of the “Jazz Wednesdays” that were organised there, ever since the Jazz At Carnegie Hall” tour – Zoot Sims, JJ. Johnson, Lee Konitz, Phineas Newborn – had inaugurated the series a little earlier. Byrd and his band took pains not to disappoint a Paris audience they knew to be particularly fickle, and they astutely varied the public’s pleasures throughout the evening. The complicity that united the rhythm section – Walter Davis Jr., Doug Watkins and Art Taylor – was much in evidence on Ray’s Idea; mistrusting the traps of the spectacular at all costs, Donald Byrd, producing brilliant inventions on the trumpet, took the lion’s share of the honours on a theme that was then much in fashion, Dear Old Stockholm, adapted from a Swedish traditional song; on Flute Blues, Bobby Jaspar proved he was still a specialist on that instrument, and Paul’s Pal showed that, on tenor, the playing of Sonny Rollins hadn’t gone unnoticed. It must be said that it didn’t have much effect on the discreet lyricism underlying the choruses he played during his “St. Germain” period. The Olympia spectators weren’t sparing in their applause for the five musicians. How else could they have reacted, faced with the fire the band showed during a tune like The Blues Walk? It wouldn’t take much for us to applaud, too, even if it is fifty-five years later…\r\n
      Text – Alain Tercinet
      """
    -prixVente: "42.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Donald Byrd (Trumpet), Bobby Jaspar (flute, tenor saxophone), Walter Davis Jr. (piano), Doug Watkins (bass) Art Taylor (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=gACVYZ3E4Bs"
    -referenceProduit: "Sam Records SRLP 101"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. Dear Old Stockholm"
        "ordre" => 1
      ]
      [
        "nom" => "2. Paul’s Pal"
        "ordre" => 2
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "1. Flute Blues"
        "ordre" => 4
      ]
      [
        "nom" => "2. Ray’s Idea"
        "ordre" => 5
      ]
      [
        "nom" => "3. The Blues Walk "
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2036 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2045 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2038 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2040 …}
    -enregistreLe: DateTime @1366837341 {#2030
      date: 2013-04-24 21:02:21.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1761259782 {#2029
      date: 2025-10-23 22:49:42.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2042 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-byrd-in-paris-sam-records-srlp-101"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2357 …}
}

[
  "produit" => App\Entity\Produit {#2052
    -id: 1629
    -nom: "Le Dernier Message de Lester Young (LP + Bonus 10 Inch Vinyl)"
    -informationComplementaire: null
    -description: """
      - Limited edition 180 gram LP plus bonus 10" vinyl !\r\n
      - Remastered from the original master tapes and pressed by Optimal !\r\n
      - Limited to 2000 copies !\r\n
      - Fasimile reissue using the original jacket photos on the front and back by Herman Leonard !\r\n
      \r\n
      In January 1959, Lester Young was in Paris for a series of concerts at the famous Blue Note Club. He played with Rene Urtreger on piano, Kenny Clarke on drums, Jimmy Gourley on guitar and Jamil Nasser on bass. On March 4, 1959, Eddie Barclay decided to record Lester at Studio Barclay, which would be Lester's last album. This legendary recording session is poignant and moving in line with Coleman Hawkins' Sirius and the last recording of Billie Holiday. Lester Young is reduced but the grace and genius are still there !\r\n
      \r\n
      Some days later, on March 15, 1959, Lester succumbed to a heart attack at the Alvin hotel, a few hours after arriving in New York. Illness had just defeated the tenor sax master fellow musicians nicknamed "Prez" The President.\r\n
      \r\n
      Reissued using the original photos of Herman Leonard, remastered from the original master tapes. Limited to 2000 copies on 180 gram vinyl pressed by Optimal in Germany.\r\n
      \r\n
      Bonus 10" vinyl recorded on March 11, 1959 at RTF Radio Studio, Paris\r\n
      \r\n
      On March 11, 1959, a legend went into a Parisian studio and recorded a version of "D.B. Blues" for the French Radio Television show Carrefour du Jazz. This title, recorded with musicians Idrees Sulieman (trumpet), Jimmy Gourley (guitar), Oscar Dennard (piano), Jamil Nasser (double bass) and Earl 'Buster' Smith (drums), would be the last recording of the great Lester Young.
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Lester Young (Tenor Saxophone), René Urtreger (Piano), Jimmy Gourley (Guitar), Jamil Nasser (Bass), Kenny Clarke (Drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=xRWm1HgjzPU"
    -referenceProduit: "Barclay 84069"
    -titreMorceau: [
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        "nom" => "Side A :"
        "ordre" => 0
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        "nom" => "1. Lady Be Good"
        "ordre" => 1
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        "nom" => "2. Back Home Again In Indiana"
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        "nom" => "3. I Can’t Get Started With You"
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        "nom" => "4. I Didn’t Know What Time It Was 4’20"
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        "nom" => "5. Three Little Words"
        "ordre" => 5
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        "nom" => "6. Pennies From Heaven"
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        "nom" => "Side B :"
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        "nom" => "1. Tea For Two"
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        "nom" => "2. I Cover The Waterfront"
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        "nom" => "3. A. B. Blues"
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      [
        "nom" => "4. There’ll never Be Another You"
        "ordre" => 11
      ]
      [
        "nom" => "5. Almost Like Being In Love"
        "ordre" => 12
      ]
      [
        "nom" => "6. Lullaby Of Birdland"
        "ordre" => 13
      ]
      [
        "nom" => "Bonus 10 Inch "
        "ordre" => 14
      ]
      [
        "nom" => "1. D.B. Blues"
        "ordre" => 15
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2054 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2063 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2056 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2058 …}
    -enregistreLe: DateTime @1555049762 {#2048
      date: 2019-04-12 06:16:02.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1761259173 {#2047
      date: 2025-10-23 22:39:33.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2060 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-le-dernier-message-de-lester-young-lp-bonus-10-inch-vinyl-barclay-84069"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3216
  -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 {#2589 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1887 …}
  +produit: App\Entity\Produit {#2052
    -id: 1629
    -nom: "Le Dernier Message de Lester Young (LP + Bonus 10 Inch Vinyl)"
    -informationComplementaire: null
    -description: """
      - Limited edition 180 gram LP plus bonus 10" vinyl !\r\n
      - Remastered from the original master tapes and pressed by Optimal !\r\n
      - Limited to 2000 copies !\r\n
      - Fasimile reissue using the original jacket photos on the front and back by Herman Leonard !\r\n
      \r\n
      In January 1959, Lester Young was in Paris for a series of concerts at the famous Blue Note Club. He played with Rene Urtreger on piano, Kenny Clarke on drums, Jimmy Gourley on guitar and Jamil Nasser on bass. On March 4, 1959, Eddie Barclay decided to record Lester at Studio Barclay, which would be Lester's last album. This legendary recording session is poignant and moving in line with Coleman Hawkins' Sirius and the last recording of Billie Holiday. Lester Young is reduced but the grace and genius are still there !\r\n
      \r\n
      Some days later, on March 15, 1959, Lester succumbed to a heart attack at the Alvin hotel, a few hours after arriving in New York. Illness had just defeated the tenor sax master fellow musicians nicknamed "Prez" The President.\r\n
      \r\n
      Reissued using the original photos of Herman Leonard, remastered from the original master tapes. Limited to 2000 copies on 180 gram vinyl pressed by Optimal in Germany.\r\n
      \r\n
      Bonus 10" vinyl recorded on March 11, 1959 at RTF Radio Studio, Paris\r\n
      \r\n
      On March 11, 1959, a legend went into a Parisian studio and recorded a version of "D.B. Blues" for the French Radio Television show Carrefour du Jazz. This title, recorded with musicians Idrees Sulieman (trumpet), Jimmy Gourley (guitar), Oscar Dennard (piano), Jamil Nasser (double bass) and Earl 'Buster' Smith (drums), would be the last recording of the great Lester Young.
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Lester Young (Tenor Saxophone), René Urtreger (Piano), Jimmy Gourley (Guitar), Jamil Nasser (Bass), Kenny Clarke (Drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=xRWm1HgjzPU"
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      [
        "nom" => "4. I Didn’t Know What Time It Was 4’20"
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        "nom" => "5. Three Little Words"
        "ordre" => 5
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        "nom" => "Side B :"
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        "nom" => "4. There’ll never Be Another You"
        "ordre" => 11
      ]
      [
        "nom" => "5. Almost Like Being In Love"
        "ordre" => 12
      ]
      [
        "nom" => "6. Lullaby Of Birdland"
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      ]
      [
        "nom" => "Bonus 10 Inch "
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      ]
      [
        "nom" => "1. D.B. Blues"
        "ordre" => 15
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2054 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2063 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2056 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2058 …}
    -enregistreLe: DateTime @1555049762 {#2048
      date: 2019-04-12 06:16:02.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1761259173 {#2047
      date: 2025-10-23 22:39:33.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2060 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-le-dernier-message-de-lester-young-lp-bonus-10-inch-vinyl-barclay-84069"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2357 …}
}

[
  "produit" => App\Entity\Produit {#2068
    -id: 1020
    -nom: "Olympia Concert"
    -informationComplementaire: null
    -description: """
      - Re-mastered from the original mono master tapes !\r\n
      - Cut by Kevin Gray at Cohearent Mastering !\r\n
      - Vinyl pressed by Optimal in Germany !\r\n
      - Tip-on deluxe gatefold sleeve with photos by Jean-Pierre leloir !\r\n
      - Each records has been visually checked to prevent defects !\r\n
      \r\n
      ”I’ve never played for such an audience” declared Art Blakey in tears. lt was November 22nd, 1958, and he’d just come offstage after one of the “Jazz Wednesdays” concerts at the Paris Olympia. For a first appearance by the “Jazz Messengers”, they’d made quite an impression. Not content with pulling a huge crowd off the Boulevard des Capucines (the demand was so great that a second concert had to be staged on December 17th), they’d converted everybody to the “Hard Bop” religion in two sets where, united in a kind of exultant communion, jazzmen,  jazzophiles and curious bystanders alike had been crushed together in high spirits, paying no attention to the presence of Brigitte Bardot escorted by Sacha Distel. That night Blues March had almost replaced the Marseillaise anthem (and Moanin’ the Oignons). Yet none of the Messengers had ever been to Paris. They’d get to that later, and then some, but for the moment they were perfect strangers. Not only strangers to the public, but unknown even to a sizeable group of jazz fans : the next issue of “Jazz Hot” magazine (most of it devoted to them) arrived like an invasion by the carabimeri… the blaze lit at the Olympia had gone out, of course, and Blakey had moved into the “Club St. Germain” to light others; there, each of his gigs could have been a remake of the famous cabin scene in the Marx Brothers’ “A Night At The Opera”…\r\n
      \r\n
      Among the Messengers’ “greatest hits”, only Moanin’ came close to Blues March. Constructed in the manner of a gospel, with the piano in the role of the preacher, and the orchestra that of the congregation, punctuating the sermon with shouts of approval, the theme was by pianist Bobby Timmons, whose fiery spirit can be explained by his educayion: “… the fact I played rhythm ‘n’ blues had a great influence on my style, and for me, it’s the foundation of jazz.” Moanin’ had sent the Olympia fans Into transports of delight, and even excited the curiosity of Hugues Panassié, who chanced to be passing by (“Bop”, in any form, being hardly his cup of tea) : he was prompted to go backstage and ask what it was he’d heard… Decidedly, in 1958, the Jazz Messengers were miracle-workers !
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Lee Morgan (Trumpet), Benny Golson (Tenor Saxophone), Bobby Timmons (Piano), Jimmy Merritt (Bass), Art Blakey (Drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=xT8VhFBkTRI"
    -referenceProduit: "Sam Records SM 028"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Just by Myself  "
        "ordre" => 1
      ]
      [
        "nom" => "2. I Remember Clifford  "
        "ordre" => 2
      ]
      [
        "nom" => "3. Are you Real  "
        "ordre" => 3
      ]
      [
        "nom" => "Side B :"
        "ordre" => 4
      ]
      [
        "nom" => "1. Moanin’  1"
        "ordre" => 5
      ]
      [
        "nom" => "2. Justice "
        "ordre" => 6
      ]
      [
        "nom" => "Side C :"
        "ordre" => 7
      ]
      [
        "nom" => "1. Blues March  "
        "ordre" => 8
      ]
      [
        "nom" => "2. Whisper Not"
        "ordre" => 9
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2070 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2079 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2072 …}
    -typeMasterTape: null
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    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2074 …}
    -enregistreLe: DateTime @1471851127 {#2065
      date: 2016-08-22 07:32:07.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1761258409 {#2066
      date: 2025-10-23 22:26:49.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2076 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-olympia-concert-sam-records-sm-028"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3267
  -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 {#2589 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1887 …}
  +produit: App\Entity\Produit {#2068
    -id: 1020
    -nom: "Olympia Concert"
    -informationComplementaire: null
    -description: """
      - Re-mastered from the original mono master tapes !\r\n
      - Cut by Kevin Gray at Cohearent Mastering !\r\n
      - Vinyl pressed by Optimal in Germany !\r\n
      - Tip-on deluxe gatefold sleeve with photos by Jean-Pierre leloir !\r\n
      - Each records has been visually checked to prevent defects !\r\n
      \r\n
      ”I’ve never played for such an audience” declared Art Blakey in tears. lt was November 22nd, 1958, and he’d just come offstage after one of the “Jazz Wednesdays” concerts at the Paris Olympia. For a first appearance by the “Jazz Messengers”, they’d made quite an impression. Not content with pulling a huge crowd off the Boulevard des Capucines (the demand was so great that a second concert had to be staged on December 17th), they’d converted everybody to the “Hard Bop” religion in two sets where, united in a kind of exultant communion, jazzmen,  jazzophiles and curious bystanders alike had been crushed together in high spirits, paying no attention to the presence of Brigitte Bardot escorted by Sacha Distel. That night Blues March had almost replaced the Marseillaise anthem (and Moanin’ the Oignons). Yet none of the Messengers had ever been to Paris. They’d get to that later, and then some, but for the moment they were perfect strangers. Not only strangers to the public, but unknown even to a sizeable group of jazz fans : the next issue of “Jazz Hot” magazine (most of it devoted to them) arrived like an invasion by the carabimeri… the blaze lit at the Olympia had gone out, of course, and Blakey had moved into the “Club St. Germain” to light others; there, each of his gigs could have been a remake of the famous cabin scene in the Marx Brothers’ “A Night At The Opera”…\r\n
      \r\n
      Among the Messengers’ “greatest hits”, only Moanin’ came close to Blues March. Constructed in the manner of a gospel, with the piano in the role of the preacher, and the orchestra that of the congregation, punctuating the sermon with shouts of approval, the theme was by pianist Bobby Timmons, whose fiery spirit can be explained by his educayion: “… the fact I played rhythm ‘n’ blues had a great influence on my style, and for me, it’s the foundation of jazz.” Moanin’ had sent the Olympia fans Into transports of delight, and even excited the curiosity of Hugues Panassié, who chanced to be passing by (“Bop”, in any form, being hardly his cup of tea) : he was prompted to go backstage and ask what it was he’d heard… Decidedly, in 1958, the Jazz Messengers were miracle-workers !
      """
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Lee Morgan (Trumpet), Benny Golson (Tenor Saxophone), Bobby Timmons (Piano), Jimmy Merritt (Bass), Art Blakey (Drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=xT8VhFBkTRI"
    -referenceProduit: "Sam Records SM 028"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Just by Myself  "
        "ordre" => 1
      ]
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        "nom" => "2. I Remember Clifford  "
        "ordre" => 2
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      [
        "nom" => "3. Are you Real  "
        "ordre" => 3
      ]
      [
        "nom" => "Side B :"
        "ordre" => 4
      ]
      [
        "nom" => "1. Moanin’  1"
        "ordre" => 5
      ]
      [
        "nom" => "2. Justice "
        "ordre" => 6
      ]
      [
        "nom" => "Side C :"
        "ordre" => 7
      ]
      [
        "nom" => "1. Blues March  "
        "ordre" => 8
      ]
      [
        "nom" => "2. Whisper Not"
        "ordre" => 9
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2070 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2079 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2072 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2074 …}
    -enregistreLe: DateTime @1471851127 {#2065
      date: 2016-08-22 07:32:07.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1761258409 {#2066
      date: 2025-10-23 22:26:49.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2076 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-olympia-concert-sam-records-sm-028"
  }
  +optionPrix: null
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  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2357 …}
}

[
  "produit" => App\Entity\Produit {#2084
    -id: 356
    -nom: "Un Temoin dans la Ville"
    -informationComplementaire: null
    -description: """
      - Recorded in Paris, December 4, 1957.\r\n
      - Original LP 10-inch issue: Fontana 660.226 MR.\r\n
      \r\n
      - Re-mastered from the original mono master tapes.\r\n
      - Cut by Kevin Gray at Cohearent Mastering.\r\n
      - Vinyl pressed by Optimal in Germany.\r\n
      - 10-inch – Facsimile reissue using the original cover art.\r\n
      - Double insert using an original photo from 1959.\r\n
      - Each record has been visually checked to prevent defects.\r\n
      \r\n
      Barney Wilen’s career took off in 1957. That year, he won the Django Reinhardt prize and recorded with Miles Davis the soundtrack of the film ‘Elevator to the Scaffold’. Taking advantage of an international fame, he records in 59 the music of the film ‘Les Liaisons Dangereuses’ with Thelonious Monk and Art Blakey, then composes himself that of the film ‘Un témoin dans la ville’ directed by Edouard Molinaro. For this night tour through Paris, Barney Wilen is surrounded by the musicians who have accompanied him for several weeks at the Club Saint-Germain : Kenny Dorham, Duke Jordan, Paul Rovère and Kenny Clarke. The result is a very happy marriage, as the music seems to have been created for the image and the image for the music.
      """
    -prixVente: "42.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Barney Wilen (saxophone), Kenny Dorham (trumpet) Duke Jordan (piano) Paul Rovère (bass) Kenny Clarke (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=wzs2rWpPzyQ"
    -referenceProduit: "Sam Records SRLP 27"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Témoin dans la ville "
        "ordre" => 1
      ]
      [
        "nom" => "2.  La Pendaison "
        "ordre" => 2
      ]
      [
        "nom" => "3. Mélodie pour les Radios-Taxis "
        "ordre" => 3
      ]
      [
        "nom" => "4. Poursuite et métro "
        "ordre" => 4
      ]
      [
        "nom" => "5. Ambiance pourpre "
        "ordre" => 5
      ]
      [
        "nom" => "6. Préméditation dans l’appartement  "
        "ordre" => 6
      ]
      [
        "nom" => "Side B :"
        "ordre" => 7
      ]
      [
        "nom" => "1. La vie n’est qu’une lutte "
        "ordre" => 8
      ]
      [
        "nom" => "2. Complainte du chauffeur "
        "ordre" => 9
      ]
      [
        "nom" => "3. Sur l’antenne "
        "ordre" => 10
      ]
      [
        "nom" => "4. Blues de l’attente "
        "ordre" => 11
      ]
      [
        "nom" => "5. S.O.S. Radio-Taxis"
        "ordre" => 12
      ]
      [
        "nom" => "6. Final au jardin d’Acclimatation "
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2086 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
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    -modifierLe: DateTime @1761258113 {#2082
      date: 2025-10-23 22:21:53.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2092 …}
    -disponible: null
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App\Twig\Components\GestionPanierFavoriComponents {#3318
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  +produit: App\Entity\Produit {#2084
    -id: 356
    -nom: "Un Temoin dans la Ville"
    -informationComplementaire: null
    -description: """
      - Recorded in Paris, December 4, 1957.\r\n
      - Original LP 10-inch issue: Fontana 660.226 MR.\r\n
      \r\n
      - Re-mastered from the original mono master tapes.\r\n
      - Cut by Kevin Gray at Cohearent Mastering.\r\n
      - Vinyl pressed by Optimal in Germany.\r\n
      - 10-inch – Facsimile reissue using the original cover art.\r\n
      - Double insert using an original photo from 1959.\r\n
      - Each record has been visually checked to prevent defects.\r\n
      \r\n
      Barney Wilen’s career took off in 1957. That year, he won the Django Reinhardt prize and recorded with Miles Davis the soundtrack of the film ‘Elevator to the Scaffold’. Taking advantage of an international fame, he records in 59 the music of the film ‘Les Liaisons Dangereuses’ with Thelonious Monk and Art Blakey, then composes himself that of the film ‘Un témoin dans la ville’ directed by Edouard Molinaro. For this night tour through Paris, Barney Wilen is surrounded by the musicians who have accompanied him for several weeks at the Club Saint-Germain : Kenny Dorham, Duke Jordan, Paul Rovère and Kenny Clarke. The result is a very happy marriage, as the music seems to have been created for the image and the image for the music.
      """
    -prixVente: "42.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Barney Wilen (saxophone), Kenny Dorham (trumpet) Duke Jordan (piano) Paul Rovère (bass) Kenny Clarke (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -extraitYoutube: "https://www.youtube.com/watch?v=wzs2rWpPzyQ"
    -referenceProduit: "Sam Records SRLP 27"
    -titreMorceau: [
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        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "1. Témoin dans la ville "
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        "nom" => "2.  La Pendaison "
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        "nom" => "6. Préméditation dans l’appartement  "
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        "nom" => "1. La vie n’est qu’une lutte "
        "ordre" => 8
      ]
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        "nom" => "2. Complainte du chauffeur "
        "ordre" => 9
      ]
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        "nom" => "3. Sur l’antenne "
        "ordre" => 10
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      [
        "nom" => "4. Blues de l’attente "
        "ordre" => 11
      ]
      [
        "nom" => "5. S.O.S. Radio-Taxis"
        "ordre" => 12
      ]
      [
        "nom" => "6. Final au jardin d’Acclimatation "
        "ordre" => 13
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    ]
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[
  "produit" => App\Entity\Produit {#2100
    -id: 717
    -nom: "Cannes ’58"
    -informationComplementaire: null
    -description: """
      - Limited edition 2000 copies.\r\n
      - Cut by kevin Gray at Cohearent Mastering.\r\n
      - Plated at Quality Record Pressing (QRP).\r\n
      - 180 gram vinyl pressed by Optimal in Germany.\r\n
      - Deluxe high-gloss flipback album jacket.\r\n
      - Double insert using an original photo by JP Leloir from the concert.\r\n
      - Each record has been visually checked to prevent defects.\r\n
      \r\n
      Donald Byrd’s residency in Paris in 1958 to study with composer Nadia Boulanger gave rise to one of the greatest bands of his career with Bobby Jaspar on tenor sax and flute, Walter Davis, Jr. on piano, Doug Watkins on bass and Art Taylor on drums. Sam Records is proud to present this previously unreleased concert by the Donald Byrd/Bobby Jaspar Quintet recorded during the evening dedicated to ‘Modern Jazz’ during the 1st and only Cannes Jazz Festival on July 11th 1958. The initiative for this festival was taken by Yvonne Blanc, a lady of good society who played the piano and lived between Paris and Cannes.\r\n
      This festival was organised in partnership with the festival of Knokke-le-Zoute, in Belgium.
      """
    -prixVente: "42.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Donald Byrd (trumpet), Bobby Jaspar (tenor saxophone, flute), Walter Davis Jr. (piano), Doug Watkins (bass), Art Taylor (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=XXdrKeqzXso"
    -referenceProduit: "Sam Records SRLP25"
    -titreMorceau: [
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        "nom" => "Side A :"
        "ordre" => 0
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App\Twig\Components\GestionPanierFavoriComponents {#3369
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  +produit: App\Entity\Produit {#2100
    -id: 717
    -nom: "Cannes ’58"
    -informationComplementaire: null
    -description: """
      - Limited edition 2000 copies.\r\n
      - Cut by kevin Gray at Cohearent Mastering.\r\n
      - Plated at Quality Record Pressing (QRP).\r\n
      - 180 gram vinyl pressed by Optimal in Germany.\r\n
      - Deluxe high-gloss flipback album jacket.\r\n
      - Double insert using an original photo by JP Leloir from the concert.\r\n
      - Each record has been visually checked to prevent defects.\r\n
      \r\n
      Donald Byrd’s residency in Paris in 1958 to study with composer Nadia Boulanger gave rise to one of the greatest bands of his career with Bobby Jaspar on tenor sax and flute, Walter Davis, Jr. on piano, Doug Watkins on bass and Art Taylor on drums. Sam Records is proud to present this previously unreleased concert by the Donald Byrd/Bobby Jaspar Quintet recorded during the evening dedicated to ‘Modern Jazz’ during the 1st and only Cannes Jazz Festival on July 11th 1958. The initiative for this festival was taken by Yvonne Blanc, a lady of good society who played the piano and lived between Paris and Cannes.\r\n
      This festival was organised in partnership with the festival of Knokke-le-Zoute, in Belgium.
      """
    -prixVente: "42.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Donald Byrd (trumpet), Bobby Jaspar (tenor saxophone, flute), Walter Davis Jr. (piano), Doug Watkins (bass), Art Taylor (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
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      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2102 …}
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    -slug: "vinyles-cannes-58-sam-records-srlp25"
  }
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}

[
  "produit" => App\Entity\Produit {#2116
    -id: 721
    -nom: "The Ronnell Bright Trio"
    -informationComplementaire: null
    -description: """
      - Re-mastered from the original mono master tapes.\r\n
      - 180 gram vinyl pressed by Optimal in Germany using the Metal Mothers from Pallas.\r\n
      - Facsimile reissue using the original photo by Jean-Pierre Leloir for the back cover (front photo is lost).\r\n
      - Double insert using an original photo by JP Leloir from the session.\r\n
      - Each record has been visually checked to prevent defects.\r\n
      \r\n
      Ronnell Bright was in Paris for just a simple stopover during the European tour that Sarah Vaughan was doing to represent the United States at the Universal Exhibition in Brussels. This rare date was cut at Studio des Dames in Paris on June 5, 1958 for french Polydor label and it’s a stripped-down trio date with a nicely relaxed feel – one that has Ronnell Bright really opening up on the keys, in ways you don’t always hear on his material with singers. This session took place in a certain euphoria on Thursday of Corpus Christi, and you can feel the joy and dynamics in music. The other players in the trio are Richard Davis on bass and the English drummer Art Morgan.
      """
    -prixVente: "42.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Ronnell Bright (piano), Richard Davis (bass), Art Morgan (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=xNr0MKdo3Cg"
    -referenceProduit: "Sam Records SRLP 03/1"
    -titreMorceau: [
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        "nom" => "Side A :"
        "ordre" => 0
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      [
        "nom" => "1. R and R Groove"
        "ordre" => 1
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        "nom" => "4. Sail’ Em"
        "ordre" => 4
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      [
        "nom" => "Side B : "
        "ordre" => 5
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        "nom" => "1. The Champ"
        "ordre" => 6
      ]
      [
        "nom" => "2. Easy Listening Blues"
        "ordre" => 7
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      [
        "nom" => "3. Chasing Sarah "
        "ordre" => 8
      ]
      [
        "nom" => "4. Doxology"
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2118 …}
    -label: App\Entity\Label {#1063 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3420
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2589 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1887 …}
  +produit: App\Entity\Produit {#2116
    -id: 721
    -nom: "The Ronnell Bright Trio"
    -informationComplementaire: null
    -description: """
      - Re-mastered from the original mono master tapes.\r\n
      - 180 gram vinyl pressed by Optimal in Germany using the Metal Mothers from Pallas.\r\n
      - Facsimile reissue using the original photo by Jean-Pierre Leloir for the back cover (front photo is lost).\r\n
      - Double insert using an original photo by JP Leloir from the session.\r\n
      - Each record has been visually checked to prevent defects.\r\n
      \r\n
      Ronnell Bright was in Paris for just a simple stopover during the European tour that Sarah Vaughan was doing to represent the United States at the Universal Exhibition in Brussels. This rare date was cut at Studio des Dames in Paris on June 5, 1958 for french Polydor label and it’s a stripped-down trio date with a nicely relaxed feel – one that has Ronnell Bright really opening up on the keys, in ways you don’t always hear on his material with singers. This session took place in a certain euphoria on Thursday of Corpus Christi, and you can feel the joy and dynamics in music. The other players in the trio are Richard Davis on bass and the English drummer Art Morgan.
      """
    -prixVente: "42.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1870 …}
    -musicienOrchestre: "Ronnell Bright (piano), Richard Davis (bass), Art Morgan (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=xNr0MKdo3Cg"
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      [
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      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2118 …}
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      date: 2025-10-23 08:57:29.0 UTC (+00:00)
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[
  "produit" => App\Entity\Produit {#2132
    -id: 2778
    -nom: "Rat Now... Paris 70"
    -informationComplementaire: null
    -description: """
      - Mal Waldron "Rat Now... Paris 70" !\r\n
      - Never-before-released Mal Waldron Trio 1970 live recording !\r\n
      - First official release with the full permission and cooperation of the Mal Waldron Estate & INA (Institut National de l'Audiovisuel) !\r\n
      - 180 gram vinyl limited to 3000 copies !\r\n
      - Part of The Lost Lives Series from Sam Records !\r\n
      \r\n
      This was recorded inside the Palais d'Orsay Hotel in Paris on March 10, 1970. The city's International Sound Festival was being held at the time, and this recording was aired in the "Jazz Vivant" radio show presented by André Francis. The performance here is a first on record, and it captures the renaissance of pianist Mal Waldron, fronting a trio comprised of drummer Christian Vander (co-founder of the group Magma) and bassist Jean-François Catoire (a long-time partner of Vander).\r\n
      \r\n
      Waldron's career was reviving after his European exile, a lengthy hiatus tied to his patient process of reconstruction after years spent fighting his addiction. In 1969 he recorded Free at Last for the brand-new ECM label (it was their very first production) and two years later he would do the same for the Enja label. Before that, in 1970, he had also toured in Japan for the first time, and it would make him instantly popular there.\r\n
      \r\n
      Before the present concert recorded on March 10, 1970, Mal Waldron had appeared the previous year (a summer gig) in a club at Antibes, the Early Bird, playing with the same comrades, namely Christian Vander and Jean-François Catoire. Many critics had praised that trio's quality in the media, and the late Maurice Cullaz, a great admirer of Waldron, even went so far as to say he had "rarely heard these three musicians play in such an extraordinary manner".\r\n
      \r\n
      So it was quite logical, when the trio got together again in March in Paris, that the same cohesion would be apparent in their opening tune "Rat Now", a theme that had appeared on the Free at Last album recorded for ECM (November 1969) only four months before this concert. The pianist plays throughout in his characteristic style, the left hand accentuating a constant undertow while his right hand releases a controlled energy. Christian Vander's unbridled percussion gives a free dimension to this tune, which lends a kind of austerity that shows the fundamental influence that the great Thelonious Monk had wielded over Waldron's piano style, alongside that of Bud Powell : "After I fell into the depths, I couldn't find the lyrical side of my playing again. The way I expressed myself had become more dense; it had refocused itself more".\r\n
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      That legacy is even more palpable in the tune that follows, "Champs Elysées", a composition from the album Impressions (1959). The melody lines, impregnated by the blues, mingle gleefully with the whirling figures provided by Mal and his partners.\r\n
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      "Rock My Soul" and its heady tempo, where once again we can measure the strength and complementary nature of Waldron's left hand, transmitting a breakneck rhythm beneath the controlled lyricism coming from his right hand also appeared among the pianist's recently recorded compositions on the Free at Last session. Vander's tumultuous drumming here feeds the flow with a robust jazz that is brimming with vigorous phrases; and when the tempo dies down, the double bass of Jean-François Catoire instils a truce that fools no-one : it heralds a feverish finale.\r\n
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      The final theme "Mount Fujiyama" was inspired by a trip to Japan that Waldron made in the winter of 1969-70. Here the music carries the imprint of serenity, yet once again it is the reflection of Mal Waldron's deep-rooted New York heritage.
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      - 180 gram vinyl limited to 3000 copies !\r\n
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App\Twig\Components\AjoutMailNewsletterComponent {#3717
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