Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2526
  -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 {#2373 …}
}

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

App\Twig\Components\ListePanier {#2603
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2606 …}
  -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 {#2605 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2373 …}
  -formView: Symfony\Component\Form\FormView {#2642 …}
  -form: Symfony\Component\Form\Form {#2792 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 273
    -nom: "Bitches Brew"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet),  Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Electric Piano – Chick Corea, Joe Zawinul, Larry Young (electric piano), Jim Riley (percussion), Charles Alias, Jack DeJohnette, Lenny White (drums).\r\n
      \r\n
      "LISTEN TO THIS" : 180 Gram 2 LP SET PLAYS WITH DEFINITIVE DETAIL, DYNAMICS, AND TONALITY !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      "Listen to This". As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than five decades after its original release, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made in any genre. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail on Mobile Fidelity's definitive 180 Gram 33 RPM 2 LP set.\r\n
      \r\n
      Sourced from the original master tapes and pressed on 180g vinyl at RTI, this numbered-edition version of Bitches Brew joins the audiophile ranks of other essential Miles Davis sets reissued by Mobile Fidelity. Having established new possibilities for studio-recording techniques, the record can now be experienced to maximum degree by way of a pressing that widens and deepens the soundstage, opens up separation between instruments, and broadens the dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.\r\n
      \r\n
      Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. On this reissue, these creations take shape with utmost realism. Compositions stretch across black backgrounds and paint abstract canvasses on par with those of Axis: Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.\r\n
      \r\n
      And "verve" defines Bitches Brew. Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard." Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that thrusts rhythms into central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures with quixotic rock, funk, and R&B elements.\r\n
      \r\n
      Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love". The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it resists definitive interpretation and encourages free thought the very principles with which Davis conceived the everlasting beauty and fascination that remain Bitches Brew.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=vUVXMWOWaS8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-439"
    -titreMorceau: [
      [
        "nom" => "1. Bitches Brew"
        "ordre" => 3
      ]
      [
        "nom" => "1. Miles Runs The Voodoo Down"
        "ordre" => 8
      ]
      [
        "nom" => "1. Pharaoh's Dance"
        "ordre" => 1
      ]
      [
        "nom" => "1. Spanish Key"
        "ordre" => 5
      ]
      [
        "nom" => "2. John McLaughlin"
        "ordre" => 6
      ]
      [
        "nom" => "2. Sanctuary"
        "ordre" => 9
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 2
      ]
      [
        "nom" => "Side C : "
        "ordre" => 4
      ]
      [
        "nom" => "Side D : "
        "ordre" => 7
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1278690554 {#1896
      date: 2010-07-09 15:49:14.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1678177457 {#1889
      date: 2023-03-07 08:24:17.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-bitches-brew-mobile-fidelity-sound-lab-mfsl-2-439"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3067
  -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 {#2605 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 273
    -nom: "Bitches Brew"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet),  Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Electric Piano – Chick Corea, Joe Zawinul, Larry Young (electric piano), Jim Riley (percussion), Charles Alias, Jack DeJohnette, Lenny White (drums).\r\n
      \r\n
      "LISTEN TO THIS" : 180 Gram 2 LP SET PLAYS WITH DEFINITIVE DETAIL, DYNAMICS, AND TONALITY !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      "Listen to This". As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than five decades after its original release, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made in any genre. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail on Mobile Fidelity's definitive 180 Gram 33 RPM 2 LP set.\r\n
      \r\n
      Sourced from the original master tapes and pressed on 180g vinyl at RTI, this numbered-edition version of Bitches Brew joins the audiophile ranks of other essential Miles Davis sets reissued by Mobile Fidelity. Having established new possibilities for studio-recording techniques, the record can now be experienced to maximum degree by way of a pressing that widens and deepens the soundstage, opens up separation between instruments, and broadens the dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.\r\n
      \r\n
      Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves later spliced together by producer Ted Macero. On this reissue, these creations take shape with utmost realism. Compositions stretch across black backgrounds and paint abstract canvasses on par with those of Axis: Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.\r\n
      \r\n
      And "verve" defines Bitches Brew. Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard." Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that thrusts rhythms into central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures with quixotic rock, funk, and R&B elements.\r\n
      \r\n
      Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love". The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of this watershed effort lies in how it resists definitive interpretation and encourages free thought the very principles with which Davis conceived the everlasting beauty and fascination that remain Bitches Brew.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=vUVXMWOWaS8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-439"
    -titreMorceau: [
      [
        "nom" => "1. Bitches Brew"
        "ordre" => 3
      ]
      [
        "nom" => "1. Miles Runs The Voodoo Down"
        "ordre" => 8
      ]
      [
        "nom" => "1. Pharaoh's Dance"
        "ordre" => 1
      ]
      [
        "nom" => "1. Spanish Key"
        "ordre" => 5
      ]
      [
        "nom" => "2. John McLaughlin"
        "ordre" => 6
      ]
      [
        "nom" => "2. Sanctuary"
        "ordre" => 9
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B :"
        "ordre" => 2
      ]
      [
        "nom" => "Side C : "
        "ordre" => 4
      ]
      [
        "nom" => "Side D : "
        "ordre" => 7
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1278690554 {#1896
      date: 2010-07-09 15:49:14.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1678177457 {#1889
      date: 2023-03-07 08:24:17.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-bitches-brew-mobile-fidelity-sound-lab-mfsl-2-439"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2373 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -id: 784
    -nom: "Miles in the Sky (2 LP) 45 RPM"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      - FINAL EFFORT WITH CLASSIC SECOND QUINTET FINDS DAVIS LOOKING TO THE PAST AND THE FUTURE !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort.\r\n
      \r\n
      The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on "Paraphernalia," blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.\r\n
      \r\n
      Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a "transitional" work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging "Stuff" and frisky "Paraphernalia" glancing toward the future while keeping solid footing in the past.\r\n
      \r\n
      Similarly, so do "Country Boy" and "Black Comedy". In his original review for jazz authority DownBeat, Larry Kart observes : "Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on "Country Boy" recalls a fragment from his "Summertime" solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on ‘Black Comedy,' his most straightahead solo here, the orderly pattern of the past is displaced and fragmented".\r\n
      \r\n
      Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.\r\n
      \r\n
      \r\n
       \r\n
      \r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), George Benson (electric guitar), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=uT_Zo5uIuTM"
    -referenceProduit: "MFSL 2-437"
    -titreMorceau: [
      [
        "nom" => "1. Black Comedy"
        "ordre" => 5
      ]
      [
        "nom" => "1. Country Son"
        "ordre" => 7
      ]
      [
        "nom" => "1. Paraphernalia"
        "ordre" => 3
      ]
      [
        "nom" => "1. Stuff"
        "ordre" => 1
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 2
      ]
      [
        "nom" => "Side C :"
        "ordre" => 4
      ]
      [
        "nom" => "Side D : "
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2043 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2036 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2038 …}
    -enregistreLe: DateTime @1432797080 {#2032
      date: 2015-05-28 07:11:20.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1678177161 {#2033
      date: 2023-03-07 08:19:21.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2040 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-miles-in-the-sky-2-lp-45-rpm-mfsl-2-437"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3183
  -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 {#2605 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -id: 784
    -nom: "Miles in the Sky (2 LP) 45 RPM"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      - FINAL EFFORT WITH CLASSIC SECOND QUINTET FINDS DAVIS LOOKING TO THE PAST AND THE FUTURE !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort.\r\n
      \r\n
      The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on "Paraphernalia," blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.\r\n
      \r\n
      Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro--the albums that precede and follow, respectively, this watershed title. Commonly branded a "transitional" work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging "Stuff" and frisky "Paraphernalia" glancing toward the future while keeping solid footing in the past.\r\n
      \r\n
      Similarly, so do "Country Boy" and "Black Comedy". In his original review for jazz authority DownBeat, Larry Kart observes : "Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on "Country Boy" recalls a fragment from his "Summertime" solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on ‘Black Comedy,' his most straightahead solo here, the orderly pattern of the past is displaced and fragmented".\r\n
      \r\n
      Flavored with humor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explodes with creativity, purpose, and color.\r\n
      \r\n
      \r\n
       \r\n
      \r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), George Benson (electric guitar), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=uT_Zo5uIuTM"
    -referenceProduit: "MFSL 2-437"
    -titreMorceau: [
      [
        "nom" => "1. Black Comedy"
        "ordre" => 5
      ]
      [
        "nom" => "1. Country Son"
        "ordre" => 7
      ]
      [
        "nom" => "1. Paraphernalia"
        "ordre" => 3
      ]
      [
        "nom" => "1. Stuff"
        "ordre" => 1
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 2
      ]
      [
        "nom" => "Side C :"
        "ordre" => 4
      ]
      [
        "nom" => "Side D : "
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2043 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2036 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2038 …}
    -enregistreLe: DateTime @1432797080 {#2032
      date: 2015-05-28 07:11:20.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1678177161 {#2033
      date: 2023-03-07 08:19:21.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2040 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2373 …}
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[
  "produit" => App\Entity\Produit {#2048
    -id: 1642
    -nom: "Nefertiti - (2 LP) 45 RPM"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      - STEEPED IN INQUISITIVE INTERPLAY AND SUBCONSCIOUS IMPRESSIONISM !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Nefertit will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's edition bring listeners to closer to the creative passions than ever before.\r\n
      \r\n
      As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section shines as a textbook example of such chemistry and unity.\r\n
      \r\n
      Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot", Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.\r\n
      \r\n
      Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.\r\n
      \r\n
      \r\n
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=Iu0IfC_IUaA"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3231
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    -nom: "Nefertiti - (2 LP) 45 RPM"
    -informationComplementaire: "Re-edition 2023"
    -description: """
      - STEEPED IN INQUISITIVE INTERPLAY AND SUBCONSCIOUS IMPRESSIONISM !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Nefertit will always be known as the final all-acoustic record made by Miles Davis' classic second quintet. A thematic bookend to the preceding Sorcerer, the 1967 set shares much in common with its equally nuanced predecessor yet deviates by way of its focus on rhythm and exploratory soundscapes. The low-key music blooms with colorful bouquets of shadings, gradations, and overtones that on Mobile Fidelity's edition bring listeners to closer to the creative passions than ever before.\r\n
      \r\n
      As he does on Sorcerer, Davis again cedes all compositional duties to his all-star band mates and focuses on his trumpet. Familiar albeit slightly dissonant, rooted in hard bop yet signaling the onset of fusion, the songs are grounded in inquisitive interplay and subconscious impressionism. Nefertiti reveals fresh devices and new directions every time you visit its cerebral worlds. And while each musician is given ample room to solo, the effort stands as an example of groupthink in that no individual stands out or shows off. The groundbreaking title track during which the horn section recurrently repeats the melody as drummer Tony Williams and bassist Ron Carter improvise, thus inverting the conventional sense of a rhythm section shines as a textbook example of such chemistry and unity.\r\n
      \r\n
      Throughout, the players' confidence, and Davis' trust in them, stamps every piece with rare self-assurance and authoritativeness. In particular, Williams and Carter bring rhythms to the forefront as the horns hypnotize and Herbie Hancock's piano points in several different directions like a compass gone crazy. Responsible for "Madness" and "Riot", Hancock contributes brief bursts of speed and slight aggression, but on a record on which complexity and introspection take precedent over blowing hot, the aural steam ultimately becomes opportunity for burrowing into unpredictable turns and deep grooves.\r\n
      \r\n
      Indeed, the thrilling sense of interplay and inclination of the ensemble to keep searching, moving forward in a concerted manner to uncover then-unheard jazz discoveries, marks Nefertiti as one of Davis' quintessential efforts. For historians, it's the signpost to the pioneering fusion the leader would begin to pursue with greater commitment on the record's follow-up, Miles in the Sky. For the rest of us, the album is music and music-making at its intriguing best.\r\n
      \r\n
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
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      date: 2023-03-06 08:57:48.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2061
    -id: 599
    -nom: "My Funny Valentine"
    -informationComplementaire: "Reedition 2023"
    -description: """
      - DEEP EMOTIONS, SPONTANEOUS BRILLIANCE, SENSITIVE BEAUTY, AND SUBLIME POIGNANCY !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis' My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps to Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York's then-new Philharmonic Hall just months after President Kennedy's assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.\r\n
      \r\n
      Presented in reference-standard fidelity, the record boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns – all are rendered with palpable detail. \r\n
      \r\n
      Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.\r\n
      \r\n
      Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal, and would continue with Davis until later in the decade, helping form what's now known as the "second great quintet". But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem "one of the unsung heroes of modern jazz." His lines are subtle and sophisticated, straight ahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.\r\n
      \r\n
      \r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Ron Carter (bass), George Coleman (tenor saxophone), Herbie Hancock (piano), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=3hnjrGvXddo"
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    -titreMorceau: [
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3279
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2605 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2061
    -id: 599
    -nom: "My Funny Valentine"
    -informationComplementaire: "Reedition 2023"
    -description: """
      - DEEP EMOTIONS, SPONTANEOUS BRILLIANCE, SENSITIVE BEAUTY, AND SUBLIME POIGNANCY !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis' My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps to Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York's then-new Philharmonic Hall just months after President Kennedy's assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.\r\n
      \r\n
      Presented in reference-standard fidelity, the record boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns – all are rendered with palpable detail. \r\n
      \r\n
      Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.\r\n
      \r\n
      Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal, and would continue with Davis until later in the decade, helping form what's now known as the "second great quintet". But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem "one of the unsung heroes of modern jazz." His lines are subtle and sophisticated, straight ahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.\r\n
      \r\n
      \r\n
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    -prixVente: "60.00"
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      date: 2023-02-18 18:33:29.0 UTC (+00:00)
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[
  "produit" => App\Entity\Produit {#2074
    -id: 2077
    -nom: "Sketches of Spain"
    -informationComplementaire: "Re-edition"
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba), James Buffington (fender Rhodes, french Horn), Eddie Caine (flugelhorn, flute), Paul Chambers (bass), Johnny Coles, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal (trumpet), Harold Feldman (clarinet, flute, oboe), Dick Hixon, Frank Rehak (trombone), Elvin Jones, Jose Mangual (percussion), Jack Knitzer (bassoon), Romeo Penque (oboe), Janet Putnam (harp), Jimmy cobb (drums).\r\n
      \r\n
      - DAVIS' FINAL AND MOST IMPRESSIVE PAIRING WITH ARRANGER GIL EVANS YIELDS WATERSHED INNOVATIONS !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects a total of three times during their celebrated career. For their final act, they created Sketches of Spain, a peak moment in each luminary's career and a transformative album that weds Spanish themes, lush orchestrations, romantic timbres, and Davis' increasingly lyrical methods in a tender ceremony that continues to resonate more than five decades after its original release.\r\n
      \r\n
      Part of Mobile Fidelity's Miles Davis catalog restoration series, the genre-defying 1960 classic has been given the ultimate white-gloves treatment. Mastered from the original master tapes and pressed at RTI, this exquisite 180 gram LP significantly expands the soundstage that frames the orchestra and digs deep to eradicate a dryness that many critics have found as an anathema to its overall enjoyment. Here, at last, is the full-figured perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with previously unheard definition and detail.\r\n
      \r\n
      With both Evans and Davis attracted to the blues undercurrents permanently entrenched in the Spanish flamenco strains, listeners can finally wholly detect the myriad microdynamic tonalities, brooding ostinato devices, and minor pedal points that stamp the compositions with divine sensibility and goffered effect.\r\n
      \r\n
      Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform the flamenco-spiced pieces, but so do unconventionally voiced instruments that come into full relief on this reissue. Davis' Harmon-muted trumpet is abetted by an assortment of bassoons and French horns that create pleasing contrasts and sounds (pp, mf, ppp) that get to the heart of Sketches of Spain: splashes of color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out variegated shades, adamantine layers, and striated distinctions.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: ""
    -referenceProduit: "MFSL 1-375"
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2605 …}
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    -id: 2077
    -nom: "Sketches of Spain"
    -informationComplementaire: "Re-edition"
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba), James Buffington (fender Rhodes, french Horn), Eddie Caine (flugelhorn, flute), Paul Chambers (bass), Johnny Coles, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal (trumpet), Harold Feldman (clarinet, flute, oboe), Dick Hixon, Frank Rehak (trombone), Elvin Jones, Jose Mangual (percussion), Jack Knitzer (bassoon), Romeo Penque (oboe), Janet Putnam (harp), Jimmy cobb (drums).\r\n
      \r\n
      - DAVIS' FINAL AND MOST IMPRESSIVE PAIRING WITH ARRANGER GIL EVANS YIELDS WATERSHED INNOVATIONS !\r\n
      \r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects a total of three times during their celebrated career. For their final act, they created Sketches of Spain, a peak moment in each luminary's career and a transformative album that weds Spanish themes, lush orchestrations, romantic timbres, and Davis' increasingly lyrical methods in a tender ceremony that continues to resonate more than five decades after its original release.\r\n
      \r\n
      Part of Mobile Fidelity's Miles Davis catalog restoration series, the genre-defying 1960 classic has been given the ultimate white-gloves treatment. Mastered from the original master tapes and pressed at RTI, this exquisite 180 gram LP significantly expands the soundstage that frames the orchestra and digs deep to eradicate a dryness that many critics have found as an anathema to its overall enjoyment. Here, at last, is the full-figured perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with previously unheard definition and detail.\r\n
      \r\n
      With both Evans and Davis attracted to the blues undercurrents permanently entrenched in the Spanish flamenco strains, listeners can finally wholly detect the myriad microdynamic tonalities, brooding ostinato devices, and minor pedal points that stamp the compositions with divine sensibility and goffered effect.\r\n
      \r\n
      Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform the flamenco-spiced pieces, but so do unconventionally voiced instruments that come into full relief on this reissue. Davis' Harmon-muted trumpet is abetted by an assortment of bassoons and French horns that create pleasing contrasts and sounds (pp, mf, ppp) that get to the heart of Sketches of Spain: splashes of color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out variegated shades, adamantine layers, and striated distinctions.
      """
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        "nom" => "\t"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
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[
  "produit" => App\Entity\Produit {#2087
    -id: 2341
    -nom: "Still Bill"
    -informationComplementaire: "AVAILABILITY : 31/01/2023 (subject Mobile Fidelity Sound Lab)"
    -description: """
      - MASTERED ON MOBILE FIDELITY'S RENOWNED MASTERING SYSTEM AND PRESSED AT RTI FOR DEFINITIVE SOUND !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      As it celebrates its 50th anniversary, Bill Withers' Still Bill remains true to its title and stands as the greatest male-fronted soul album not made by a singer named Marvin, Al, Sam, James, or Ray. Though the saying "keeping it real" did not exist in popular parlance when Withers released his sophomore effort on Sussex Records, no words better capture the music's approach, mindset, and value. Every facet of Still Bill radiates honesty, truth, and emotion. These characteristics along with Withers' strong singing, hybrid arrangements, and deceptively simple songwriting have allowed the album to endure to the point where it sounds as fresh today as in 1972.\r\n
      \r\n
      Mastered on Mobile Fidelity's renowned mastering system and pressed on 180 gram vinyl at RTI, Mobile Fidelity's numbered-edition LP of Still Bill gives this lush classic the luxe treatment it has always deserved. Replete with intoxicating detail and depth, the collectible reissue zeroes in on the music's crux Withers' unique, rich, West Virginia-accented voice while clearing a true-to-the-source path to the extraordinary backing he receives from members of the Watts 103rd Street Rhythm Band. The diverse spectrum of colors, textures, and tones Withers captured at the Record Plant can now be experienced for the first time outside the L.A. studio. And the lifelike presence and directness of his singing, as well as the smooth glide of his phrasing, further elevate the magnificence of the music and underscore why the record Rolling Stone named the 303rd Greatest Album of All Time continues to escalate in stature.\r\n
      \r\n
      After rising into the Top 5 of the Billboard Album charts and attaining gold status within a year of release, Still Bill has long been evaluated not by sales but according to its merit, spirit, and agelessness. Included by The Guardian on its "1,000 Albums to Hear Before You Die" list (2007) as well as in Tom Moon's 1000 Recordings to Hear Before You Die book (2008), its contemporary standing as one of history's most venerated soul efforts eclipses the positive reception it enjoyed in the early ‘70s. Still Bill walks the same hallowed ground as What's Going On, Call Me, Night Beat, and Genius + Soul = Jazz. Like those landmarks, Still Bill plays with a mix of consistency, effortlessness, and complexity that rewards repeat listening and transcends categorization.\r\n
      \r\n
      In combining four of the era's predominant styles – Philly soul, sweaty funk, Southern-reared blues, acoustic-based folk and melding them with standout production borrowed from both minimalist affairs and sophisticated singer-songwriter albums, Still Bill occupies a distinct universe. Its rhythmic fare is equally laidback and invigorating; relaxing and rollicking; eloquent and muscular; soft and tough. Withers' calm, self-assured voice hovers above it all, doubling as a warm blanket that adds comfort and grace to lyrics steeped in maturity, perspective, and compassion. Withers' balanced outlook on human desires, needs, and situations stem from his own existence as a former blue-collar employee who believed his time as a musician would soon end. That grounding forever separates Withers from other contemporary soul greats and stamps Still Bill with a conversational nature and egoless approachability.\r\n
      \r\n
      "I mean look, I'm really a factory worker," said Withers in 1972. "That's a real job". There's that word again : real. The songs on Still Bill are tethered to modesty and actuality, wedded to a belief in simplicity, and connected to universal truths that link us all independent of our economic or social standing. No track better exemplifies those principles than "Lean on Me," a feel-good paean to brotherhood and community that hit No. 1 on the pop and R&B charts en route to becoming a mainstream staple. Withers approaches the plainspoken insight on "Lonely Town, Lonely Street" and heartbreaking vulnerability of "I Don't Want You on My Mind" with similar sincerity and straightforwardness. His proclivity for authenticity extends to the record's other big hit: the sexual, funk-laden "Use Me", which reached N° 2 and reflects the singer's everyman persona. It's an identity couched in keeping it real, the very inclination that ultimately led Withers to retire in the mid-'80s rather than bend to industry pressures or risk credibility.\r\n
      \r\n
      That commitment to truthfulness and realism helps make Still Bill feel as unaffected as the air we breathe. Looking back on "Lean on Me" years later, Withers said it seemed like "something that was there before I got here" the kind of song that could be 100 or 10 years old, or one we encounter anew 10 years into the future. The same can be said for every note on Still Bill.\r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=h-UT7nnX4c4"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL1-525"
    -titreMorceau: [
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        "ordre" => 0
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        "ordre" => 9
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        "ordre" => 8
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2089 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3373
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2605 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2087
    -id: 2341
    -nom: "Still Bill"
    -informationComplementaire: "AVAILABILITY : 31/01/2023 (subject Mobile Fidelity Sound Lab)"
    -description: """
      - MASTERED ON MOBILE FIDELITY'S RENOWNED MASTERING SYSTEM AND PRESSED AT RTI FOR DEFINITIVE SOUND !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      As it celebrates its 50th anniversary, Bill Withers' Still Bill remains true to its title and stands as the greatest male-fronted soul album not made by a singer named Marvin, Al, Sam, James, or Ray. Though the saying "keeping it real" did not exist in popular parlance when Withers released his sophomore effort on Sussex Records, no words better capture the music's approach, mindset, and value. Every facet of Still Bill radiates honesty, truth, and emotion. These characteristics along with Withers' strong singing, hybrid arrangements, and deceptively simple songwriting have allowed the album to endure to the point where it sounds as fresh today as in 1972.\r\n
      \r\n
      Mastered on Mobile Fidelity's renowned mastering system and pressed on 180 gram vinyl at RTI, Mobile Fidelity's numbered-edition LP of Still Bill gives this lush classic the luxe treatment it has always deserved. Replete with intoxicating detail and depth, the collectible reissue zeroes in on the music's crux Withers' unique, rich, West Virginia-accented voice while clearing a true-to-the-source path to the extraordinary backing he receives from members of the Watts 103rd Street Rhythm Band. The diverse spectrum of colors, textures, and tones Withers captured at the Record Plant can now be experienced for the first time outside the L.A. studio. And the lifelike presence and directness of his singing, as well as the smooth glide of his phrasing, further elevate the magnificence of the music and underscore why the record Rolling Stone named the 303rd Greatest Album of All Time continues to escalate in stature.\r\n
      \r\n
      After rising into the Top 5 of the Billboard Album charts and attaining gold status within a year of release, Still Bill has long been evaluated not by sales but according to its merit, spirit, and agelessness. Included by The Guardian on its "1,000 Albums to Hear Before You Die" list (2007) as well as in Tom Moon's 1000 Recordings to Hear Before You Die book (2008), its contemporary standing as one of history's most venerated soul efforts eclipses the positive reception it enjoyed in the early ‘70s. Still Bill walks the same hallowed ground as What's Going On, Call Me, Night Beat, and Genius + Soul = Jazz. Like those landmarks, Still Bill plays with a mix of consistency, effortlessness, and complexity that rewards repeat listening and transcends categorization.\r\n
      \r\n
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      \r\n
      "I mean look, I'm really a factory worker," said Withers in 1972. "That's a real job". There's that word again : real. The songs on Still Bill are tethered to modesty and actuality, wedded to a belief in simplicity, and connected to universal truths that link us all independent of our economic or social standing. No track better exemplifies those principles than "Lean on Me," a feel-good paean to brotherhood and community that hit No. 1 on the pop and R&B charts en route to becoming a mainstream staple. Withers approaches the plainspoken insight on "Lonely Town, Lonely Street" and heartbreaking vulnerability of "I Don't Want You on My Mind" with similar sincerity and straightforwardness. His proclivity for authenticity extends to the record's other big hit: the sexual, funk-laden "Use Me", which reached N° 2 and reflects the singer's everyman persona. It's an identity couched in keeping it real, the very inclination that ultimately led Withers to retire in the mid-'80s rather than bend to industry pressures or risk credibility.\r\n
      \r\n
      That commitment to truthfulness and realism helps make Still Bill feel as unaffected as the air we breathe. Looking back on "Lean on Me" years later, Withers said it seemed like "something that was there before I got here" the kind of song that could be 100 or 10 years old, or one we encounter anew 10 years into the future. The same can be said for every note on Still Bill.\r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: ""
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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        "ordre" => 8
      ]
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2089 …}
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    -modifierLe: DateTime @1671539438 {#2085
      date: 2022-12-20 12:30:38.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-still-bill-mobile-fidelity-sound-lab-mfsl1-525"
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[
  "produit" => App\Entity\Produit {#2103
    -id: 2243
    -nom: "Local Hero (Soundtrack)"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Mark Knopfler (guitar, synthesizer, percussion, electronic drums), Eddie Gomez, John Illsley, Neil Jason, Tony Levin, Brian Rowan (bass), Hal Lindes (rhythm guitar), Mike Brecker (saxophone), Mike Mainieri (vibraphone), Gerry Rafferty (vocals), Dale Winchester (accordion), Roddy Murray (guitar), Alan Clark (piano, synthesizer, organ Hammond), Mark Winchester (violin), Jimmy Yuill (whistle), Steve Jordan, Terry Williams, Ed Bicknell (drums).\r\n
      \r\n
      - MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED AT RTI FOR DEFINITIVE SOUND\r\n
      \r\n
      - Digital clone of 3M digital master to analog console to lathe\r\n
      \r\n
      Three years removed from crafting Dire Straits' third album, Making Movies, band leader Mark Knopfler elected to adhere to the record's title and try his hand at doing just that in an aural way. Written and performed to accompany the film Local Hero, the iconic guitarist's first soundtrack continues to serve as one of the decade's most prized scores. No wonder the BAFTA Award-nominated work has long eclipsed the Bill Forsyth film in stature, merit, and popularity and emerged as the basis of a stage musical that debuted in Scotland in 2019.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI on dead-quiet 180 gram vinyl, Mobile Fidelity's numbered-edition 180 gram LP of Local Hero gives the beloved effort audiophile-grade sound on a par with the reference-quality sonics afforded Dire Straits' Mobile Fidelity reissues. In each arrangement, Knopfler's methodical guitar lines emerge with supreme transparency and multi-hued textural detail. The intricate notes, finger-picked passages, and cosmopolitan lines come across as if they're transmitted just feet away from you in real time.\r\n
      \r\n
      Ditto the diverse accompaniment, including the Celtic-themed effects, supplemental jazz accents, and folk inflections. The keys to the nearly 44 minute effort's success and continuity relate not only to Knoplfer's laidback style and low-key approach, but his ear for uncanny melody and blues traces. Woven acoustically and electrically, his tapestries benefit from the newfound airiness, openness, and balance that live on this reissue. No matter the instrument or treatment, the music arrives with pinpoint imaging and vibrant liveliness. Close your eyes, and the Mobile Fidelity version of Local Hero projects movies in your head.\r\n
      \r\n
      For instance, take the closing "Going Home", a cherished instrumental whose proud spirit resonates with English football fans and features saxophone playing by the late, great Michael Brecker. Heard before every Newcastle United F.C. home game, it has become an anthem on both sides of the Atlantic. Or, look to "The Ceilidh : Louis' Favorite Billy's Tune" on which Scottish-flavored vibes and dance tempos conjure a festive jig until a transition gives the number a more subdued, romantic feel. Then, the pattern repeats. Seeking to expand beyond the parameters of Dire Straits, Knoplfer taps into a global economy of structures and sounds, and takes anyone with a sense of adventure along for the ride.\r\n
      \r\n
      Not that his hallmark six-string is absent from the proceedings. It frames the lovely tin-pan whistle motif of the aptly titled "Whistle Theme", acts as a beacon for the elegant, vibraphone-kissed "Smooching," and pushes forward the jovial, top-down momentum of "Freeway Flyer", among other highlights. Knopfler also receives assistance from session pros Mike Mainieri, Steve Jordan, and Terry Williams, as well as vocalist Gerry Rafferty on the set's sole vocal tune, "That's the Way It Always Starts".\r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Mark Knopfler (guitar, synthesizer, percussion, electronic drums), Eddie Gomez, John Illsley, Neil Jason, Tony Levin, Brian Rowan (bass), Hal Lindes (rhythm guitar), Mike Brecker (saxophone), Mike Mainieri (vibraphone)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=FxRKzj0IyM0"
    -referenceProduit: "Mobile Fidelity Sound Labs MFSL 1-505"
    -titreMorceau: [
      [
        "nom" => "1. The Mist Covered Mountains"
        "ordre" => 9
      ]
      [
        "nom" => "1. The Rocks and the Water"
        "ordre" => 1
      ]
      [
        "nom" => "2. The Ceilidh : Louis' Favourite Billy's Tune"
        "ordre" => 10
      ]
      [
        "nom" => "2. Wild Theme"
        "ordre" => 2
      ]
      [
        "nom" => "3. Freeway Flyer"
        "ordre" => 3
      ]
      [
        "nom" => "3. Whistle Theme"
        "ordre" => 11
      ]
      [
        "nom" => "4. Boomtown (Variation Louis' Favourite)"
        "ordre" => 4
      ]
      [
        "nom" => "4. Smooching"
        "ordre" => 12
      ]
      [
        "nom" => "5. Stargazer"
        "ordre" => 13
      ]
      [
        "nom" => "5. The Way It Always Starts"
        "ordre" => 5
      ]
      [
        "nom" => "6. The Rocks and the Thunder (I)"
        "ordre" => 6
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      [
        "nom" => "6. The Rocks and the Thunder (II)"
        "ordre" => 14
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      [
        "nom" => "7. Going Home (Theme of the Local Hero)"
        "ordre" => 15
      ]
      [
        "nom" => "7. The Ceilidh and the Northern Lights"
        "ordre" => 7
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 8
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2105 …}
    -label: App\Entity\Label {#1063 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3424
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2605 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2103
    -id: 2243
    -nom: "Local Hero (Soundtrack)"
    -informationComplementaire: ""
    -description: """
      Musicians : \r\n
      Mark Knopfler (guitar, synthesizer, percussion, electronic drums), Eddie Gomez, John Illsley, Neil Jason, Tony Levin, Brian Rowan (bass), Hal Lindes (rhythm guitar), Mike Brecker (saxophone), Mike Mainieri (vibraphone), Gerry Rafferty (vocals), Dale Winchester (accordion), Roddy Murray (guitar), Alan Clark (piano, synthesizer, organ Hammond), Mark Winchester (violin), Jimmy Yuill (whistle), Steve Jordan, Terry Williams, Ed Bicknell (drums).\r\n
      \r\n
      - MASTERED FROM THE ORIGINAL MASTER TAPES AND PRESSED AT RTI FOR DEFINITIVE SOUND\r\n
      \r\n
      - Digital clone of 3M digital master to analog console to lathe\r\n
      \r\n
      Three years removed from crafting Dire Straits' third album, Making Movies, band leader Mark Knopfler elected to adhere to the record's title and try his hand at doing just that in an aural way. Written and performed to accompany the film Local Hero, the iconic guitarist's first soundtrack continues to serve as one of the decade's most prized scores. No wonder the BAFTA Award-nominated work has long eclipsed the Bill Forsyth film in stature, merit, and popularity and emerged as the basis of a stage musical that debuted in Scotland in 2019.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI on dead-quiet 180 gram vinyl, Mobile Fidelity's numbered-edition 180 gram LP of Local Hero gives the beloved effort audiophile-grade sound on a par with the reference-quality sonics afforded Dire Straits' Mobile Fidelity reissues. In each arrangement, Knopfler's methodical guitar lines emerge with supreme transparency and multi-hued textural detail. The intricate notes, finger-picked passages, and cosmopolitan lines come across as if they're transmitted just feet away from you in real time.\r\n
      \r\n
      Ditto the diverse accompaniment, including the Celtic-themed effects, supplemental jazz accents, and folk inflections. The keys to the nearly 44 minute effort's success and continuity relate not only to Knoplfer's laidback style and low-key approach, but his ear for uncanny melody and blues traces. Woven acoustically and electrically, his tapestries benefit from the newfound airiness, openness, and balance that live on this reissue. No matter the instrument or treatment, the music arrives with pinpoint imaging and vibrant liveliness. Close your eyes, and the Mobile Fidelity version of Local Hero projects movies in your head.\r\n
      \r\n
      For instance, take the closing "Going Home", a cherished instrumental whose proud spirit resonates with English football fans and features saxophone playing by the late, great Michael Brecker. Heard before every Newcastle United F.C. home game, it has become an anthem on both sides of the Atlantic. Or, look to "The Ceilidh : Louis' Favorite Billy's Tune" on which Scottish-flavored vibes and dance tempos conjure a festive jig until a transition gives the number a more subdued, romantic feel. Then, the pattern repeats. Seeking to expand beyond the parameters of Dire Straits, Knoplfer taps into a global economy of structures and sounds, and takes anyone with a sense of adventure along for the ride.\r\n
      \r\n
      Not that his hallmark six-string is absent from the proceedings. It frames the lovely tin-pan whistle motif of the aptly titled "Whistle Theme", acts as a beacon for the elegant, vibraphone-kissed "Smooching," and pushes forward the jovial, top-down momentum of "Freeway Flyer", among other highlights. Knopfler also receives assistance from session pros Mike Mainieri, Steve Jordan, and Terry Williams, as well as vocalist Gerry Rafferty on the set's sole vocal tune, "That's the Way It Always Starts".\r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Mark Knopfler (guitar, synthesizer, percussion, electronic drums), Eddie Gomez, John Illsley, Neil Jason, Tony Levin, Brian Rowan (bass), Hal Lindes (rhythm guitar), Mike Brecker (saxophone), Mike Mainieri (vibraphone)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=FxRKzj0IyM0"
    -referenceProduit: "Mobile Fidelity Sound Labs MFSL 1-505"
    -titreMorceau: [
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        "nom" => "1. The Mist Covered Mountains"
        "ordre" => 9
      ]
      [
        "nom" => "1. The Rocks and the Water"
        "ordre" => 1
      ]
      [
        "nom" => "2. The Ceilidh : Louis' Favourite Billy's Tune"
        "ordre" => 10
      ]
      [
        "nom" => "2. Wild Theme"
        "ordre" => 2
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      [
        "nom" => "3. Freeway Flyer"
        "ordre" => 3
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      [
        "nom" => "3. Whistle Theme"
        "ordre" => 11
      ]
      [
        "nom" => "4. Boomtown (Variation Louis' Favourite)"
        "ordre" => 4
      ]
      [
        "nom" => "4. Smooching"
        "ordre" => 12
      ]
      [
        "nom" => "5. Stargazer"
        "ordre" => 13
      ]
      [
        "nom" => "5. The Way It Always Starts"
        "ordre" => 5
      ]
      [
        "nom" => "6. The Rocks and the Thunder (I)"
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      [
        "nom" => "6. The Rocks and the Thunder (II)"
        "ordre" => 14
      ]
      [
        "nom" => "7. Going Home (Theme of the Local Hero)"
        "ordre" => 15
      ]
      [
        "nom" => "7. The Ceilidh and the Northern Lights"
        "ordre" => 7
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      [
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        "ordre" => 0
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      [
        "nom" => "Side B : "
        "ordre" => 8
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2105 …}
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    -modifierLe: DateTime @1671090947 {#2101
      date: 2022-12-15 07:55:47.0 UTC (+00:00)
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  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2373 …}
}

[
  "produit" => App\Entity\Produit {#2119
    -id: 876
    -nom: "E.S.P. - (2 LP) 45 RPM - Numbered Limited Edition"
    -informationComplementaire: ""
    -description: """
      Landmark 1965 Recording Splits Divide Between Accessible Hard-Bop and Cutting-Edge Improvisation : Miles Davis' E.S.P. a Paragon of Cohesion, Chemistry, Interplay.\r\n
      \r\n
      Pressed at RTI, Mobile Fidelity's Reference-Caliber 45 RPM Vinyl 2LP Set Presents the Music In Intimate, Transformational, Lifelike Sound.\r\n
      \r\n
      First Album Recorded by Davis' Classic Second Quintet: E.S.P. Teems With Brilliant Intensity, Energy, Emotion, Steadiness, Tension, and Interplay.\r\n
      \r\n
      A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.\r\n
      \r\n
      Pressed at RTI, Mobile Fidelity's 180 gram 45 RPM 2LP set of E.S.P. treats each phrase and every note as sacred communication. This meticulously restored audiophile version renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.\r\n
      \r\n
      For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.\r\n
      \r\n
      As he did with John Coltrane a year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.\r\n
      \r\n
      Interlocking lines drive "Little One", alternating rhythms pulse through the funky "Eighty-One", melodies soar on the balladic "Iris", the aptly titled "Mood" broods over minor-key structures, and "Agitation" – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=faW5IXgkMBQ"
    -referenceProduit: "MFSL 2-451"
    -titreMorceau: [
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        "ordre" => 7
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      [
        "nom" => "1. E.S.P."
        "ordre" => 1
      ]
      [
        "nom" => "1. Little One"
        "ordre" => 4
      ]
      [
        "nom" => "1. Mood"
        "ordre" => 10
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      [
        "nom" => "2. Eighty-One"
        "ordre" => 2
      ]
      [
        "nom" => "2. Iris"
        "ordre" => 8
      ]
      [
        "nom" => "2. R.J."
        "ordre" => 5
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
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        "ordre" => 3
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        "ordre" => 6
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      [
        "nom" => "Side D : "
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2122 …}
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      date: 2016-02-22 07:25:00.0 UTC (+00:00)
    }
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      date: 2022-09-30 06:31:08.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -slug: "vinyles-e-s-p-2-lp-45-rpm-numbered-limited-edition-mfsl-2-451"
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App\Twig\Components\GestionPanierFavoriComponents {#3477
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2605 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2119
    -id: 876
    -nom: "E.S.P. - (2 LP) 45 RPM - Numbered Limited Edition"
    -informationComplementaire: ""
    -description: """
      Landmark 1965 Recording Splits Divide Between Accessible Hard-Bop and Cutting-Edge Improvisation : Miles Davis' E.S.P. a Paragon of Cohesion, Chemistry, Interplay.\r\n
      \r\n
      Pressed at RTI, Mobile Fidelity's Reference-Caliber 45 RPM Vinyl 2LP Set Presents the Music In Intimate, Transformational, Lifelike Sound.\r\n
      \r\n
      First Album Recorded by Davis' Classic Second Quintet: E.S.P. Teems With Brilliant Intensity, Energy, Emotion, Steadiness, Tension, and Interplay.\r\n
      \r\n
      A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.\r\n
      \r\n
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      \r\n
      For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' lineup. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.\r\n
      \r\n
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      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=faW5IXgkMBQ"
    -referenceProduit: "MFSL 2-451"
    -titreMorceau: [
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        "nom" => "1. Little One"
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        "nom" => "Side A : "
        "ordre" => 0
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        "ordre" => 6
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        "ordre" => 9
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
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    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2124 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-e-s-p-2-lp-45-rpm-numbered-limited-edition-mfsl-2-451"
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[
  "produit" => App\Entity\Produit {#2132
    -id: 676
    -nom: "Filles de Kilimanjaro"
    -informationComplementaire: ""
    -description: """
      Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion : Exotic Suite-Like Album Beautiful, Intense, Adventurous !\r\n
      \r\n
      Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45 RPM 2 LP set.\r\n
      \r\n
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      \r\n
      Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.\r\n
      \r\n
      More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline "Directions in Music". With the jazz world still trying to wrap its collective mind around its genius, it still does.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Chick Corea, Herbie Hancock (piano, electric piano), Dave Holland, Ron Carter (bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3525
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2605 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 676
    -nom: "Filles de Kilimanjaro"
    -informationComplementaire: ""
    -description: """
      Landmark 1968 Effort Recognized as Davis' Prelude Into Full-On Fusion : Exotic Suite-Like Album Beautiful, Intense, Adventurous !\r\n
      \r\n
      Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45 RPM 2 LP set.\r\n
      \r\n
      Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.\r\n
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      Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.\r\n
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    -prixVente: "89.50"
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2133 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2135 …}
    -enregistreLe: DateTime @1397377318 {#2129
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    }
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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}

[
  "produit" => App\Entity\Produit {#2145
    -id: 1088
    -nom: "Aretha's Gold "
    -informationComplementaire: ""
    -description: """
      Aretha Franklin Aretha's Gold on Numbered Limited Edition 180 gram 45 RPM 2 LP from Mobile Fidelity !\r\n
      \r\n
      Mastered From Original Master Tapes & Pressed at RTI !\r\n
      \r\n
      Astonishing Collection of The Queen of Soul's Greatest Songs for Atlantic Records: Aretha's Gold Includes Nine Top Ten Hits : "Respect", "Chain of Fools", and "Think" Among Them.\r\n
      \r\n
      Aretha Franklin made her Hall of Fame reputation at Atlantic Records between 1967-1968. This astonishing two-year period witnessed the singer score nine Top 10 hits and define soul music, a era chronicled on Aretha's Gold. Pairing with producer Jerry Wexler and a flawless Muscle Shoals studio band, Franklin unleashed bolder sides of her artistry kept under wraps during her tenure at Columbia. The rest is history – a history that, until now, has never been in heard in true audiophile sound. And if there's any voice you want to experience to the most realistic extent, it's that of the vocalist Rolling Stone crowned the Greatest Singer of All Time.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180 gram 45 RPM 2 LP of Aretha's Gold presents Franklin's most seminal early Atlantic songs with reference-standard sonics. Finally, hear the full range of the Queen of Soul's depth, reach, and expressiveness. Complementing her timeless classics with tremendous dynamics, restored balances, and stunning clarity, this collectable analog set sheds new light on Franklin's power and technique, honesty and confidence, enunciation and directness.\r\n
      \r\n
      Hear why Franklin is even better than you likely think or remember. You just haven't been able to hear the Detroit native on a format that mirrors exactly what went down in the studios when she recorded songs that, to this day, remain the bar by which all other singers are measured. The same goes for Franklin's backing band, known as the Swampers, whose instrumental savvy, feel, and textures are so unique, the group is credited with creating its own style : The Muscle Shoals Sound. On this vinyl edition of Aretha's Gold, experience every picked guitar note, brushed snare, and fluid bass line. Seldom has a band and vocalist ever made a more formidable, memorable, and emotional combination.\r\n
      \r\n
      The evidence plays out across these 14 songs, each a soul landmark, each unforgettable thanks to Franklin's impassioned performances and empowering attitude. The Sweet Impressions (Franklin's backing vocalists) and sweeping string arrangements bolster the foundation, but the material belongs to Franklin. A veritable hit parade, the track listing on Aretha's Gold reads like a dictionary of soul.\r\n
      \r\n
      "I Never Loved a Man (The Way I Loved You)", "Respect", "(You Make Me Feel Like) A Natural Woman", "Chain of Fools", "Since You've Been Gone (Sweet Sweet Baby)", "Think", "The House That Jack Built", "I Say a Little Prayer", "Baby I Love You" : All Top 10 hits. Plus five more tunes, including a riveting cover of Sam Cooke's "You Send Me", that charted.\r\n
      \r\n
      You know the songs by heart. You know the voice by memory. But you've never quite known them so intimately. Aretha's Gold on Mobile Fidelity gives the Queen the royal treatment she deserves.
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Aretha Franklin (piano, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=5nlGnclNsr0"
    -referenceProduit: "MFSL 2-479"
    -titreMorceau: [
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        "ordre" => 6
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        "ordre" => 10
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      [
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        "ordre" => 7
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      [
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        "ordre" => 11
      ]
      [
        "nom" => "2. Do Right Woman-Do Right Man"
        "ordre" => 2
      ]
      [
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        "ordre" => 16
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      [
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      [
        "nom" => "3. Respect"
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      ]
      [
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        "ordre" => 17
      ]
      [
        "nom" => "3. Think"
        "ordre" => 12
      ]
      [
        "nom" => "4. Dr. Feelgood"
        "ordre" => 4
      ]
      [
        "nom" => "4. You Send Me"
        "ordre" => 13
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
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      ]
      [
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        "ordre" => 9
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      [
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        "ordre" => 14
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2147 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1478 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2149 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2151 …}
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    -modifierLe: DateTime @1661670922 {#2143
      date: 2022-08-28 07:15:22.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2153 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3571
  -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 {#2605 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2145
    -id: 1088
    -nom: "Aretha's Gold "
    -informationComplementaire: ""
    -description: """
      Aretha Franklin Aretha's Gold on Numbered Limited Edition 180 gram 45 RPM 2 LP from Mobile Fidelity !\r\n
      \r\n
      Mastered From Original Master Tapes & Pressed at RTI !\r\n
      \r\n
      Astonishing Collection of The Queen of Soul's Greatest Songs for Atlantic Records: Aretha's Gold Includes Nine Top Ten Hits : "Respect", "Chain of Fools", and "Think" Among Them.\r\n
      \r\n
      Aretha Franklin made her Hall of Fame reputation at Atlantic Records between 1967-1968. This astonishing two-year period witnessed the singer score nine Top 10 hits and define soul music, a era chronicled on Aretha's Gold. Pairing with producer Jerry Wexler and a flawless Muscle Shoals studio band, Franklin unleashed bolder sides of her artistry kept under wraps during her tenure at Columbia. The rest is history – a history that, until now, has never been in heard in true audiophile sound. And if there's any voice you want to experience to the most realistic extent, it's that of the vocalist Rolling Stone crowned the Greatest Singer of All Time.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180 gram 45 RPM 2 LP of Aretha's Gold presents Franklin's most seminal early Atlantic songs with reference-standard sonics. Finally, hear the full range of the Queen of Soul's depth, reach, and expressiveness. Complementing her timeless classics with tremendous dynamics, restored balances, and stunning clarity, this collectable analog set sheds new light on Franklin's power and technique, honesty and confidence, enunciation and directness.\r\n
      \r\n
      Hear why Franklin is even better than you likely think or remember. You just haven't been able to hear the Detroit native on a format that mirrors exactly what went down in the studios when she recorded songs that, to this day, remain the bar by which all other singers are measured. The same goes for Franklin's backing band, known as the Swampers, whose instrumental savvy, feel, and textures are so unique, the group is credited with creating its own style : The Muscle Shoals Sound. On this vinyl edition of Aretha's Gold, experience every picked guitar note, brushed snare, and fluid bass line. Seldom has a band and vocalist ever made a more formidable, memorable, and emotional combination.\r\n
      \r\n
      The evidence plays out across these 14 songs, each a soul landmark, each unforgettable thanks to Franklin's impassioned performances and empowering attitude. The Sweet Impressions (Franklin's backing vocalists) and sweeping string arrangements bolster the foundation, but the material belongs to Franklin. A veritable hit parade, the track listing on Aretha's Gold reads like a dictionary of soul.\r\n
      \r\n
      "I Never Loved a Man (The Way I Loved You)", "Respect", "(You Make Me Feel Like) A Natural Woman", "Chain of Fools", "Since You've Been Gone (Sweet Sweet Baby)", "Think", "The House That Jack Built", "I Say a Little Prayer", "Baby I Love You" : All Top 10 hits. Plus five more tunes, including a riveting cover of Sam Cooke's "You Send Me", that charted.\r\n
      \r\n
      You know the songs by heart. You know the voice by memory. But you've never quite known them so intimately. Aretha's Gold on Mobile Fidelity gives the Queen the royal treatment she deserves.
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Aretha Franklin (piano, vocals)"
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    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2147 …}
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    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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}

[
  "produit" => App\Entity\Produit {#2161
    -id: 724
    -nom: "Sorcerer (2LP) - 45 RPM"
    -informationComplementaire: ""
    -description: """
      Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis legendary second quintet and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity definitive 45 RPM pressing.\r\n
      \r\n
      Mastered from the original master tapes and pressed on 180 g 45 RM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism.\r\n
      \r\n
      This is a reference standard reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer. \r\n
      \r\n
      Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad « Pee Wee », an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter and Williams mirroring one another’s moves with guile and purpose. The opening « Prince of Darkness » showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.\r\n
      \r\n
      A lasting example of Davis visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing « Nothing Like You » a brief tribute to Davis eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough, the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1925 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3624
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    -informationComplementaire: ""
    -description: """
      Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums devised by Miles Davis legendary second quintet and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz the 1967 magnum opus mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity definitive 45 RPM pressing.\r\n
      \r\n
      Mastered from the original master tapes and pressed on 180 g 45 RM vinyl at RTI, this collectable audiophile edition of Sorcerer joins the ranks of eleven other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism.\r\n
      \r\n
      This is a reference standard reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock piano runs now occupy their own space, where their relationship to the central rhythms and front line becomes clearer. \r\n
      \r\n
      Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad « Pee Wee », an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter and Williams mirroring one another’s moves with guile and purpose. The opening « Prince of Darkness » showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.\r\n
      \r\n
      A lasting example of Davis visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing « Nothing Like You » a brief tribute to Davis eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough, the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.\r\n
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    -prixVente: "89.50"
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2174
    -id: 1475
    -nom: "Porgy and Bess"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Miles Davis (trumpet, flugelhorn), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone), Willie Ruff, Julius Watkins, Gunther Schuller (horn), Bill Barber (tuba), Phil Bodner, Jerome Richardson, Romeo Penque (flute, alto flute & clarinet), Cannonball Adderley (alto saxophone), Danny Bank  (alto flute, bass flute & bass clarinet), Paul Chambers (bass), \r\n
      Philly Joe Jones, Jimmy Cobb (drums), Gil Evans (arranger & conductor).\r\n
      \r\n
      Miles Davis and Gil Evans’ "Porgy and Bess" Is a Landmark of Arrangement, Performance, and Emotion : 1959 Adaptation of George Gershwin Opera Advances Jazz Idioms and Modal Playing. \r\n
      \r\n
      180 gram 45 RPM 2 LP Set Features Reference-Level Tonality, Depth, and Openness.\r\n
      \r\n
      If a more significant, influential, and lasting result of a creative musical partnership exists than that of Miles Davis and Gil Evans' Porgy and Bess, society hasn't seen it. It's impossible to overstate the importance of the pair's collaboration on the landmark 1959 update of George Gershwin's opera. Transcending genre, time, and place, the profound statement finds Evans and Davis implementing modal approaches in a mainstream context and advancing jazz idioms that would become the foundation of the form's still-classic era. And that's saying nothing of the soulful playing legendary performances by Davis' first great quintet that can now be heard in pristine detail courtesy of this definitive analog edition.\r\n
      \r\n
      Mastered from the original tapes, pressed at RTI, and strictly limited to 4000 numbered copies, "Porgy and Bess" attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's 180 gram 45 RPM 2 LP set. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Separation between instruments allows you to locate individual band members and trace the decay of the notes. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evans-conducted orchestra emerges with room-filling bloom, color, and dynamics.\r\n
      \r\n
      While difficult to pinpoint its single-best strength, Mobile Fidelity's reissue gives reference-level credence to what may remain the album's most crucial aspect": tone. Based not on chords but on scales and feeling, "Porgy and Bess" teems with emotions and possibilities characteristics conveyed by the nuances, timbre, and temper delivered by the array of horns, woodwinds, basses, and percussion involved. Whether the combination of Bill Barber's tuba in unison with Paul Chambers' bass during "Buzzard Song", Davis' improvisational flights on "It Ain't Necessarily So", or the doubling up on alto flutes on several compositions, never before have they been experienced with such richness, roundness, and palpability.\r\n
      \r\n
      Just as identifying singular sonic highlights proves virtually unfeasible, so does underlining which songs feature the most memorable exchanges, melodies, and scoring. Davis and Evans' adaptation of "Porgy and Bess" remains of a piece, an American touchstone, a recording that immediately separated itself from the multiple other versions released during the same period and continues to make waves decades after its creation, assuming a place in the historical canon alongside collaborative masterworks by Duke Ellington / Billy Strayhorn and Frank Sinatra / Nelson Riddle.\r\n
      \r\n
      Defined by Davis biographer Jack Chambers as "a new score, with its own integrity, order, and action", "Porgy and Bess" has been identified by nearly every major outlet and expert as a must-have album. Davis' phrasing alone cements the effort with a genius quality. As Brian Cook and Richard Morton explain in The Penguin Guide to Jazz : "‘Prayer' is an astounding tour de force, harmonically suspended, and with Miles' most extraordinarily recorded solo to date punctuated by agonized screams and shouts, whether of affirmation or suffering it isn't easy to judge. Miles was not in good physical condition during the making of the record, which perhaps explains the twisting intensity, the bent notes and slurs which seem to express some inner pain". Then there's the immortal rendition of "Summertime", the epitome of calm, understatement, and beauty.\r\n
      \r\n
      At once sweet and spiritual, sure and steady, graceful and exuberant, happy and poignant, Porgy and Bess is a phenomenal jazz dance that has never been equaled and likely, never will. Hear it as Davis, Evans, and company intended.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Miles Davis (trumpet, flugelhorn), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone), Willie Ruff, Julius Watkins, Gunther Schuller (horn), Bill Barber (tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=EPj22GjTUzw"
    -referenceProduit: "MFSL 2-45485"
    -titreMorceau: [
      [
        "nom" => "1. Gone, Gone, Gone"
        "ordre" => 5
      ]
      [
        "nom" => "1. It Ain't Necessarily So"
        "ordre" => 13
      ]
      [
        "nom" => "1. Prayer (Oh Doctor Jesus)"
        "ordre" => 9
      ]
      [
        "nom" => "1. The Buzzard Song"
        "ordre" => 1
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      [
        "nom" => "2. Bess, You is My Woman Now"
        "ordre" => 2
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        "nom" => "2. Fisherman, Strawberry and Devil Crab"
        "ordre" => 10
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      [
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      [
        "nom" => "3. Oh Bess, Where's My Bess ?"
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      [
        "nom" => "4. There's A Boat That's Leaving Soon For New York"
        "ordre" => 16
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      [
        "nom" => "Side A : "
        "ordre" => 0
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        "ordre" => 4
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      [
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        "ordre" => 12
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3672
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2605 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2174
    -id: 1475
    -nom: "Porgy and Bess"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Miles Davis (trumpet, flugelhorn), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone), Willie Ruff, Julius Watkins, Gunther Schuller (horn), Bill Barber (tuba), Phil Bodner, Jerome Richardson, Romeo Penque (flute, alto flute & clarinet), Cannonball Adderley (alto saxophone), Danny Bank  (alto flute, bass flute & bass clarinet), Paul Chambers (bass), \r\n
      Philly Joe Jones, Jimmy Cobb (drums), Gil Evans (arranger & conductor).\r\n
      \r\n
      Miles Davis and Gil Evans’ "Porgy and Bess" Is a Landmark of Arrangement, Performance, and Emotion : 1959 Adaptation of George Gershwin Opera Advances Jazz Idioms and Modal Playing. \r\n
      \r\n
      180 gram 45 RPM 2 LP Set Features Reference-Level Tonality, Depth, and Openness.\r\n
      \r\n
      If a more significant, influential, and lasting result of a creative musical partnership exists than that of Miles Davis and Gil Evans' Porgy and Bess, society hasn't seen it. It's impossible to overstate the importance of the pair's collaboration on the landmark 1959 update of George Gershwin's opera. Transcending genre, time, and place, the profound statement finds Evans and Davis implementing modal approaches in a mainstream context and advancing jazz idioms that would become the foundation of the form's still-classic era. And that's saying nothing of the soulful playing legendary performances by Davis' first great quintet that can now be heard in pristine detail courtesy of this definitive analog edition.\r\n
      \r\n
      Mastered from the original tapes, pressed at RTI, and strictly limited to 4000 numbered copies, "Porgy and Bess" attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's 180 gram 45 RPM 2 LP set. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Separation between instruments allows you to locate individual band members and trace the decay of the notes. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evans-conducted orchestra emerges with room-filling bloom, color, and dynamics.\r\n
      \r\n
      While difficult to pinpoint its single-best strength, Mobile Fidelity's reissue gives reference-level credence to what may remain the album's most crucial aspect": tone. Based not on chords but on scales and feeling, "Porgy and Bess" teems with emotions and possibilities characteristics conveyed by the nuances, timbre, and temper delivered by the array of horns, woodwinds, basses, and percussion involved. Whether the combination of Bill Barber's tuba in unison with Paul Chambers' bass during "Buzzard Song", Davis' improvisational flights on "It Ain't Necessarily So", or the doubling up on alto flutes on several compositions, never before have they been experienced with such richness, roundness, and palpability.\r\n
      \r\n
      Just as identifying singular sonic highlights proves virtually unfeasible, so does underlining which songs feature the most memorable exchanges, melodies, and scoring. Davis and Evans' adaptation of "Porgy and Bess" remains of a piece, an American touchstone, a recording that immediately separated itself from the multiple other versions released during the same period and continues to make waves decades after its creation, assuming a place in the historical canon alongside collaborative masterworks by Duke Ellington / Billy Strayhorn and Frank Sinatra / Nelson Riddle.\r\n
      \r\n
      Defined by Davis biographer Jack Chambers as "a new score, with its own integrity, order, and action", "Porgy and Bess" has been identified by nearly every major outlet and expert as a must-have album. Davis' phrasing alone cements the effort with a genius quality. As Brian Cook and Richard Morton explain in The Penguin Guide to Jazz : "‘Prayer' is an astounding tour de force, harmonically suspended, and with Miles' most extraordinarily recorded solo to date punctuated by agonized screams and shouts, whether of affirmation or suffering it isn't easy to judge. Miles was not in good physical condition during the making of the record, which perhaps explains the twisting intensity, the bent notes and slurs which seem to express some inner pain". Then there's the immortal rendition of "Summertime", the epitome of calm, understatement, and beauty.\r\n
      \r\n
      At once sweet and spiritual, sure and steady, graceful and exuberant, happy and poignant, Porgy and Bess is a phenomenal jazz dance that has never been equaled and likely, never will. Hear it as Davis, Evans, and company intended.\r\n
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Miles Davis (trumpet, flugelhorn), Ernie Royal, Bernie Glow, Johnny Coles, Louis Mucci (trumpet), Dick Hixon, Frank Rehak, Jimmy Cleveland, Joe Bennett (trombone), Willie Ruff, Julius Watkins, Gunther Schuller (horn), Bill Barber (tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=EPj22GjTUzw"
    -referenceProduit: "MFSL 2-45485"
    -titreMorceau: [
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        "nom" => "1. Gone, Gone, Gone"
        "ordre" => 5
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        "ordre" => 13
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      [
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        "ordre" => 9
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        "nom" => "1. The Buzzard Song"
        "ordre" => 1
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      [
        "nom" => "2. Bess, You is My Woman Now"
        "ordre" => 2
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        "nom" => "2. Fisherman, Strawberry and Devil Crab"
        "ordre" => 10
      ]
      [
        "nom" => "2. Here Come de Honey man"
        "ordre" => 14
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      [
        "nom" => "2. Summertime"
        "ordre" => 6
      ]
      [
        "nom" => "3. Gone"
        "ordre" => 3
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      [
        "nom" => "3. I Wants To Stay Here (a.k.a. I Loves You, Porgy)"
        "ordre" => 15
      ]
      [
        "nom" => "3. My Man's Gone Now"
        "ordre" => 11
      ]
      [
        "nom" => "3. Oh Bess, Where's My Bess ?"
        "ordre" => 7
      ]
      [
        "nom" => "4. There's A Boat That's Leaving Soon For New York"
        "ordre" => 16
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
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        "ordre" => 4
      ]
      [
        "nom" => "Side C : "
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      [
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        "ordre" => 12
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2182 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2175 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2177 …}
    -enregistreLe: DateTime @1545115834 {#2171
      date: 2018-12-18 06:50:34.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1661148149 {#2172
      date: 2022-08-22 06:02:29.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2179 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-porgy-and-bess-mfsl-2-45485"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2373 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3867
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2373 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3868 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3916 …}
  +isValidated: false
  +validatedFields: []
}