A Love Supreme

Recording, mastering and the disappearing master tape

A Love Supreme was recorded in a single afternoon and evening on December 9, 1964 at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey, with Coltrane (tenor), McCoy Tyner (piano), Jimmy Garrison (bass) and Elvin Jones (drums, gong, timpani), produced by Bob Thiele. A second session on December 10 captured three overdubs onto the master: Coltrane's "a love supreme" vocal chant on Acknowledgement, a corrective long note on Resolution, and sax/bass/drum overdubs on the final thirty seconds of Psalm. A second-day sextet session with Archie Shepp and Art Davis produced material later released on the 2015 Complete Masters box.

The recording was captured only to 2-track stereo tape. Van Gelder had abandoned running parallel mono machines by late 1964; the mono A-77 is therefore a fold-down of the stereo master, not a discrete mono mix. Van Gelder cut both stereo and mono lacquers directly from that one stereo reel.

The tape provenance is the single most important technical fact for evaluating pressings. Michael Cuscuna: "I'm ninety-nine percent sure that the master tapes of A Love Supreme were scrapped." The accepted timeline is that around 1971–73, ABC ordered a recut at Bell Sound Studios in New York because Van Gelder's original master lacked an auto-fade at the end of side one. Bell Sound cut an EQ'd dub, labeled it "master," and the original RVG reel was subsequently discarded. From roughly 1973 onward, virtually every US Impulse! reissue is at least one tape generation removed from Van Gelder's original.

The rescue came in 2002, when Van Gelder retrieved a flat first-generation copy tape he had struck in April 1965 and shipped to EMI Abbey Road for the UK HMV pressing. It had sat untouched in the EMI vault for 37 years. This 1965 Abbey Road safety is the source for every serious modern audiophile reissue: the 2020 Verve Acoustic Sounds Series, the 2023 UHQR, and the 2025 60th-anniversary mono. To be clear on the US tape situation: Fremer summarises what happened to the American master – "at some time in the 1970s, ABC made a one-off the master copy and then threw away the master (insane but it was the '70s). So this one-off the master became the master that's now being used" – but this describes the fate of the US reel only. Ryan K. Smith's cuts for AP and Verve draw on the superior Abbey Road safety, not the Bell Sound dub.

One further wrinkle defines the pressing hierarchy: Van Gelder's original stereo lacquer contains a low-level 60 Hz mains hum running throughout – almost certainly a cable-fault on the day he cut it. The mono cut is hum-free. Fremer (Tracking Angle): "If you think an original pressing of A Love Supreme is 'the one', you probably haven't heard it. My copy begins with a 60Hz hum before the music begins and it continues throughout. The original is not the 'holy grail' of A Love Supreme pressings." This single detail explains why modern reissues from the Abbey Road safety now surpass the original stereo for many listeners.

One collector's SPL-meter comparison of all three top-tier stereo pressings found the original AS-77 cut measurably hotter than either modern Ryan K. Smith cut: the 2020 Acoustic Sounds Series and the 2023 UHQR both peaked at 84dB at matched preamp settings, while the original stereo peaked at 86dB. This is a useful data point when doing your own back-to-back comparisons – volume-match before judging "fuller" or "louder" as a quality difference.

Original US Impulse! pressings (1965)

Released February 1965. Catalogue numbers firmly established: A-77 (mono), AS-77 (stereo). Note that the outer jacket and spine of stereo copies confusingly read "STEREO A-77" – the "S" appears only on the label itself, tripping up countless sellers. A quarter-track reel was released as IT-2001; Capitol Record Club editions carried SMAS-90215 (stereo) and MAS-90215 (mono).

The original label is the classic orange-and-black "!" design with orange center and black outer ring. No deep groove – it had been phased out of Impulse! before A-77's catalogue range, so its presence is not a first-press marker here. The genuine 1965 footer reads "A PRODUCT OF ABC-PARAMOUNT RECORDS, INC. / PRINTED IN USA" with no address line and no ® trademark marks flanking the Impulse! logo. The gatefold jacket is laminated on the outside, matte on the inside, with a white spine and black text.

Matrix identification

Mono (A-77): deadwax reads A-77-A VAN GELDER LW (side A) and A-77-B VAN GELDER LW (side B). "VAN GELDER" is a rubber stamp; "LW" is hand-etched, standing for Longwear Plating Company. Stereo (AS-77): deadwax reads AS-77·A LW VAN GELDER STEREO / AS-77·B VAN GELDER LW STEREO. The "STEREO" stamp is the diagnostic marker; if a purported stereo original lacks it, it is not RVG-cut. Bell Sound-cut copies from 1965 carry "BELL SOUND" in the deadwax – one generation removed and noticeably softer sounding.

The single most reliable first-press indicator is the inner sleeve: a genuine 1965 copy carries "ABC-Paramount Records, Inc., 1501 Broadway, New York 36, N.Y." listing catalogue only up to A-50 (Live at Birdland). This inner was replaced with a "1330 Avenue of the Americas" version around March/April 1966.

Market values

NM/NM mono A-77 originals with Van Gelder deadwax, laminated gatefold and correct inner command the highest prices among originals, with exceptional copies commanding a further premium. NM/NM stereo AS-77 originals sell for meaningfully less – cheaper because the hum discourages audiophile buyers and stereo was pressed in larger numbers.

Mono vs. stereo

Because the mono is a fold-down of the same 2-track master, the difference is not the mix but the presentation. Stereo (RVG cut): Coltrane hard left, Jones's drums hard right, Tyner left-of-center, Garrison right-of-center, nothing in the middle – wide and dramatic, but with the 60 Hz hum baked in, fatiguing on headphones. Mono: Coltrane centered, denser and more forward, timpani and gong with more body, and – crucially – no hum. Fred Kaplan (Stereophile): "Mono's density, force, and focus fire the music forward like a pistol shot. My UHQR 45rpm stereo version offers bigger images, more detail, and a soundstage, but in stereo, this music floats as much as it punches, more ethereal than visceral. The mono release hits head and body hard."

For most collectors the mono A-77 is now the more sought-after original – rarer, hum-free, and closer to how the band heard playbacks. For modern reissues, the 2020 Acoustic Sounds Series and 2023 UHQR are the reference stereo pressings, both hum-free from the Abbey Road safety. The 2025 60th-anniversary mono gives modern listeners the mono presentation without hunting for a costly original.

One practical note for anyone tempted to just flip a mono switch or use a Y-cable to fold a stereo copy down to mono rather than buying the dedicated mono edition: one reviewer directly tested this against the 2025 mono pressing and found the DIY fold-down "sounded terrible... dull and one-dimensional" by comparison. Ryan K. Smith's 2025 mono cut wasn't a naive channel-sum – he referenced the original 1964 mono pressing's specific mix choices when creating it, which a simple stereo-to-mono fold at home won't replicate.

The reissue hierarchy: ABC and MCA eras (1966–1986)

1966–1968: late orange-and-black represses. Same A-77/AS-77 numbers; footer changes to "ABC RECORDS, INC. NEW YORK, N.Y. 10019." Many still carry VAN GELDER + LW stamps and sound essentially indistinguishable from firsts.

Canadian Sparton Impulse! pressings (1965). Released simultaneously with the US original under license to Sparton. At least one detailed collector report claims Sparton pressed from the same Van Gelder metalwork used for the US release, making these sonically close to a US original where available – worth knowing if a US original isn't in budget, though this specific claim hasn't been independently corroborated beyond that one source.

1968–1971: black label with orange/red rim. "abc RECORDS" boxed logo top right, "impulse!" script top left. Still typically carry VAN GELDER STEREO in deadwax; pressed on thinner vinyl but sonically very close to the originals when RVG metal is present – an underrated pressing often graded down purely on label aesthetics.

1972–1974: ℗-year footer. "℗ 1972 (or 1973) ABC RECORDS, INC." This is where the Van Gelder stamp disappears – machine-block matrices indicate Bell Sound recuts from the surviving dub. One Discogs reviewer: "Considering it's not an RVG pressing, it sounds pretty great – not as bright, crisp, and punchy as RVG, but still beautiful, with plenty of definition that trumps anything post-1973."

1973–1975: black "neon impulse!" label; 1975–1979: ABC "green bullseye" label. Least interesting variants – thin vinyl, non-laminated covers, no Van Gelder metalwork.

1980: MCA-29017 "black rainbow" label. The sleeper pick. Mastering engineer Steve Hoffman has endorsed the 1980 MCA cut as "most likely equal to or better than searching for a first Impulse pressing" – advanced cutting systems, and no pressing after ~1973 was from the true master anyway – a claim independently corroborated by LondonJazzCollector, which cites the same endorsement while noting Hoffman's own commercial stake in reissues as a reason to weigh the claim critically rather than take it purely at face value. Discussion on Steve Hoffman Music Forums reflects a similarly mixed community view. A genuine budget option.

1986: MCA-5660 split red/black label. Digitally remastered by Greg Fulginiti at Artisan Sound Recorders (deadwax: "MCA-4762-ASR-1"). Perfectly acceptable but digital-era cut; purists skip it.

Critical confirmation: No Mobile Fidelity Sound Lab (MFSL) release of A Love Supreme has ever existed on vinyl, CD, gold CD, or SACD. MFSL never licensed the Impulse! Coltrane catalogue. Any listing claiming one is fraudulent.

Japanese pressings

1967 Impulse!/King SR-3006 – earliest Japanese issue; ships with a one-sided promo flexi (P-91) of a 1966 Tokyo TBS interview with Coltrane. Complete copies with obi and flexi are genuinely rare.

1973 Toshiba-EMI IMP-88060 – Discogs reviewers call it "the best sound for this amazing album" and "hands-down the best I own." Comes with obi.

1976 Nippon Columbia YP-8527-AI – strongest reputation of any Japanese pressing despite its budget "ABC/Impulse! Best Collection" positioning. Owners describe it as "warmer, with instruments much better balanced" than the Acoustic Sounds Series. Comes with obi.

1980 Victor (JVC) MCA/Impulse! VIM-4610 – Steve Hoffman's cited equal-to-original budget pick. Follow-up VIM-5639 nearly as good.

Note: No confirmed SHM-Vinyl release of A Love Supreme exists. Treat any such listing with skepticism.

Modern audiophile reissues (2001–2026)

Speakers Corner AS-77 (2001) Cat. AS-77. Single 180g LP, orange/black label facsimile, gatefold. Kevin Gray at AcousTech, AAA, from a US analog master tape sourced before the June 2008 UMG fire. Pressed at Pallas (Germany). Long out of print. Warm, quiet, well-balanced; Fremer's 2023 verdict finds it "sweet, soft and distant" next to the Sterling Sound cuts, but it was the audiophile reference for a decade.

Analogue Productions 45rpm 2LP (2010) Cat. AIPJ 77, UPC 753088007774. 2×180–200g at 45rpm, gatefold tip-on. Kevin Gray at AcousTech, AAA, from a pre-2008-fire US-side tape. Pressed at QRP. Out of print. Wayne Garcia (The Absolute Sound, September 2010 print issue): "As good as the original Impulse pressing sounds, Analogue Productions' release will leave lovers of this record pinned to their seats." Fremer (2023 revisit) finds the piano "muffled, the toms soft and distant, the cymbals lacking shimmer." Still excellent – warmer and less analytical than the later Ryan Smith cuts.

Verve/Impulse! Acoustic Sounds Series 33⅓ (2020) – the mid-price reference Cat. B0032077-01 (label cat# on Impulse!/Verve/UMe), UPC 602508889288. Note: retailers including Acoustic Sounds use the SKU "AIMP 7701," which does not appear on the record itself. Single 180g LP at 33⅓, Stoughton tip-on laminated gatefold. Ryan K. Smith at Sterling Sound, AAA, from the 1965 Abbey Road safety tape. Pressed at QRP. Early press (r16026339) had a Side II label misprint (reading "Resolution" instead of "Psalm" for Part IV) later corrected in a second pressing (r19942006). Fremer (Analog Planet, Nov 2020): "Anyone who tells you the original pressing bests this new one simply has not heard either! Ryan's new cut is a 100% top to bottom success." Joseph Taylor (SoundStage!Ultra): "closer to hearing what occurred in the studio."

Analogue Productions UHQR 45rpm Clarity Vinyl 2LP box (2023) – the current sonic pinnacle Cat. AUHQR 0007-45, UPC 753088074578. 2×200g Clarity Vinyl at 45rpm, deluxe dowel-spine box with 12-page Ashley Kahn booklet and hand-signed inspection certificate. Ryan K. Smith at Sterling Sound, AAA, from the same 1965 Abbey Road safety tape as the 2020 cut. Hand-pressed at QRP. Limited to 10,000 copies. Has appreciated meaningfully on the resale market since its original release. Fred Kaplan (Stereophile): "a wonder, better-sounding than any previous edition, including the original pressing." Fremer (Tracking Angle): "The difference between this version and every other one... is not subtle... 'insanely better' and the proverbial 'window into the studio.'" A dissenting minority argues the 2010 Kevin Gray 45 is warmer and more comfortable on some systems.

A Love Supreme: The Complete Masters 3LP box (2015) Cat. B0023911-01, UPC 602547536044. Three LPs in gatefold with 20-page booklet. Digitally sourced (Kevin Reeves remaster). LP1 carries the studio album; LPs 2–3 collect alternate takes and the December 10 sextet session with Shepp and Davis. Essential for the alternate material; sonically the main-album LP is inferior to the 2020 Acoustic Sounds cut.

Color-vinyl retail exclusives (2021) – same mastering, more QC variance Acoustic Sounds' own catalogue lists a limited-edition blue vinyl variant of the 2020 pressing, and Target sold a limited orange "Impulse Orange" variant (B0028424-01) around the same time; both share the Ryan K. Smith/Sterling Sound AAA metalwork of the standard black-vinyl Acoustic Sounds Series (one buyer of the orange variant confirmed "RKS Sterling" stamped in the deadwax). Owner reports for both color variants are mostly positive but noticeably more mixed than for the standard pressing – some copies described as dead quiet, others with mild surface noise or warping, consistent with a shorter, less carefully monitored color-vinyl production run. Treat these as a fun, same-mastering curiosity rather than a guaranteed sonic equal to the standard AS Series pressing.

Impulse! GR-155 single-LP reissue (2015) – AVOID Mastered from Erick Labson's 1995 digital remaster, lacquers cut at The Mastering Lab. All copies exhibit a low-level right-channel background ringing throughout – well-documented on Discogs, Steve Hoffman Forums, and SoundStage!Ultra. Skip in favour of the Acoustic Sounds Series.

A Love Supreme: Live in Seattle 2LP (2021) Cat. B0034291-01, UPC 602438499984. The October 2, 1965 Penthouse Club performance with Pharoah Sanders and Carlos Ward. Mastered by Kevin Reeves from a 50-year-old amateur tape. Historically essential; sonically compromised – Coltrane buried in the mix. Not a substitute for the studio album.

2025 60th-Anniversary Edition, Diamond Clear Vinyl Cat. 00602567588436 / UPC 00602478371004 variant packaging. Single diamond-clear 180g LP, housed in a special jacket printed on silver mirror board with embossed elements. Released February 7, 2025 – 60 years to the day after the original 1965 release. Ryan K. Smith (RKS/Sterling stamp in the deadwax). Matrix runouts confirm this via the "RKS STERLING" stamp. One collector who directly compared the deadwax etching to the 2020 Acoustic Sounds Series called it "most likely from the same source and same metalworks," though this hasn't been independently confirmed beyond that one comparison – if accurate, it would mean this pressing offers no sonic advantage over the considerably cheaper standard AS Series LP, just different (limited-edition) packaging. Given the pressing plant is unconfirmed and GZ-pressed color vinyl has a mixed reputation among collectors regardless of country, don't assume superiority over the standard Acoustic Sounds Series pressing based on the premium packaging and price alone.

2025 60th-Anniversary Mono Edition UPC 602478371004. Single 180g mono LP, gatefold tip-on. Ryan K. Smith at Sterling Sound, AAA, cut as a fresh mono fold-down from the 1965 Abbey Road stereo safety tape – the first new mono cut in over fifty years. Note: no discrete mono master tape exists; Van Gelder's original mono was itself a real-time fold-down from the 2-track stereo master, which was subsequently discarded. Pressed at RTI. Reviews consistently positive; the answer for listeners who want mono presentation without the expense of an original A-77.

Supersense Archival Tape Edition No. 3 (2021) Limited 999-unit single-sided lacquer edition cut in real time onto Japanese lacquer blanks from the surviving US copy tape – the 1971–73 Bell Sound EQ'd dub that became the de facto US "master" after the original Van Gelder reel was discarded. This explains its notably rolled-off character and absence of 60 Hz hum (EQ'd out by Bell Sound when creating the dub). ~€500–€1,000. Plays quietly, requires very high gain, wears rapidly. Interesting curio, not for daily use.

Confirmed phantom releases – pressings that DO NOT exist

• No Classic Records 200g Quiex SV-P or 45rpm box – frequently confused with Speakers Corner, which filled that audiophile role
• No MFSL (Mobile Fidelity) vinyl, CD, gold CD, or SACD – MFSL never licensed the Impulse! Coltrane catalogue
• No Craft Recordings / OJC edition – Craft holds Concord/Fantasy/Prestige/Riverside, not Impulse!
• No Music on Vinyl (MOV) pressing
• No Nautilus Superdisc, DCC Compact Classics, or Cisco Records edition
• No Blue Note Tone Poet – wrong label entirely
• No SHM-Vinyl confirmed Japanese issue
• No Impex, Pure Pleasure, or ORG (Original Recordings Group) edition

Pressings to avoid: grey-market EU pirates

A Love Supreme is not in EU public domain (2011 extension raised protection to 70 years) yet is widely bootlegged. Avoid: DOL, DolChess, Waxtime/Waxtime in Color, Jazz Wax, Jazz Images, Doxy, Vinyl Lovers, Vinyl Passion, Not Now Music, Ermitage, Pan Am, Blue Moon, 20th Century Masterworks, Jazz Time. Red flags: a sealed 180g pressing priced noticeably below the going rate for a legitimate AAA reissue, no "Under license from Universal/Verve/Impulse!" statement, no named mastering engineer, "Made in EU" with Spanish or Russian PO box, color-vinyl gimmicks. Legitimate AAA reissues always name the mastering engineer (Ryan K. Smith, Kevin Gray) and describe the tape source.

What actually makes a pressing superior

Four factors dominate, in descending order. Tape generation: the Abbey Road 1965 flat copy used by Ryan K. Smith outperforms the pre-2008 US "master" used by Speakers Corner and the 2010 AP, which outperforms the Bell Sound-derived tape used for late ABC/early MCA reissues. Mastering chain: AAA cuts preserve the 3D imaging; digital-intermediate cuts sound flatter. Cutting engineer philosophy: Van Gelder emphasises upper midrange, forward horns, less warmth; Kevin Gray tends warmer and softer; Ryan Smith extracts more air and low-end while retaining transient snap. Pressing plant and vinyl compound: QRP and Pallas dominate the audiophile tier; Clarity Vinyl offers the lowest noise floor; weight alone means little.

Buyer's guide by budget

For $ (Budget), the pragmatic choice is a clean MCA 1980 yellow-label reissue (MCA-29017) – Steve Hoffman's endorsed budget pick – or a used copy of the Japanese Victor VIM-4610 if you can source one from Japan. Both give you a decent all-analog presentation without spending serious money. Skip the 2015 Impulse! GR-155 entirely despite its cheap availability; the documented right-channel ringing makes it actively worse than a budget MCA reissue.

At $$ (Affordable), the answer is simple and near-unanimous: 2020 Verve Acoustic Sounds Series 33⅓ (B0032077-01). It is the best-value pressing in the catalogue's history and the universal recommendation for any serious listener who doesn't want to pay audiophile premiums. If mono is your preference, add the 2025 60th-anniversary mono edition (released September 26, 2025). Both are Ryan K. Smith AAA cuts from the 1965 Abbey Road stereo safety tape – the 2025 mono edition being a fresh fold-down, since no discrete mono master exists. A clean Japanese Toshiba IMP-88060 or Nippon Columbia YP-8527-AI with obi also fits this tier if you want a warmer, more vintage character.

At $$$ (Mid-range), the out-of-print Speakers Corner 2001 180g (050155-1) is worth hunting for if you find it at a fair price – Kevin Gray's warmer, rounder character suits some systems better than Ryan Smith's more analytical Sterling Sound cut. A clean late orange-and-black 1966–68 US pressing with VAN GELDER stamps in the deadwax lives here as well, giving you genuine RVG metalwork without first-press pricing. A NM UK HMV stereo (CSD 1605) or mono (CLP 1869) also fits this tier – cut locally at EMI from the same Abbey Road tape now used for modern reissues.

At $$$$ (Premium), the Analogue Productions UHQR 45rpm 2LP box (AUHQR 0007-45) is available on the resale market and represents the current outright sonic pinnacle. This is the target for anyone who wants the best available sound, full stop. A clean stereo AS-77 original with RVG deadwax also lands in this range, provided you accept the 60 Hz hum as either tolerable or part of the record's character. Mid-condition A-77 mono originals occasionally surface here too.

At $$$$$ (Grail / Rare), the target is an NM A-77 mono original with all correct first-press indicators – 1501 Broadway inner sleeve topping out at A-50, laminated white-spine gatefold, VAN GELDER + LW hand-etched in the deadwax. The mono original delivers a presentation no modern reissue can fully replicate: the density, the hum-free silence between notes, the sense of RVG cutting directly from the live reel. This is collector territory – as much about provenance and the ritual of ownership as about sonic superiority over the 2020 AS Series. A pristine NM AS-77 stereo with matching provenance also fits this tier for those who accept the hum.

The pragmatic two-copy solution endorsed by Kaplan, Fremer, and the Steve Hoffman forum consensus: the 2020 Acoustic Sounds Series 33⅓ for stereo and the 2025 60th-anniversary mono for mono, together cover the album completely in both formats from the best available source tape at a modest combined outlay. Everything above that is about the audiophile experience of diminishing returns – still meaningful, but the gap between the AS Series and the UHQR is smaller than the gap between the AS Series and anything that came before it.

Pressing tier summary

References

• Discogs (master): https://www.discogs.com/master/32287-John-Coltrane-A-Love-Supreme
• Wikipedia, "Michael Cuscuna": https://en.wikipedia.org/wiki/Michael_Cuscuna
• AnalogPlanet, "A Coltrane Review 'Two-Fer' – Verve's New A Love Supreme and Ballads": https://www.analogplanet.com/content/coltrane-review-two-fer%E2%80%94-verves-new-love-supreme-and-ballads
• Tracking Angle, "A Love Supreme Gets Supreme Analogue Productions UHQR Release": https://trackingangle.com/music/a-love-supreme-gets-supreme-analogue-productions-uhqr-release
• Stereophile, "Revinylization #47: John Coltrane's Seminal A Love Supreme on UHQR Vinyl": https://www.stereophile.com/content/revinylization-47-john-coltranes-seminal-love-supreme-uhqr-vinyl
• SoundStage! Ultra, "John Coltrane: A Love Supreme": https://www.soundstageultra.com/index.php/features-menu/recording-of-the-month-menu/999-john-coltrane-a-love-supreme
• The Absolute Sound, Wayne Garcia review of the Analogue Productions 45rpm 2LP (September 2010 print issue, no web article found): https://www.theabsolutesound.com
• LondonJazzCollector, "Impulse US Labels": https://londonjazzcollector.wordpress.com/record-labels-guide/7-impulse/impulse-us-labels/
• Steve Hoffman Music Forums, "A Love Supreme - Best Vinyl Edition?": https://forums.stevehoffman.tv/threads/a-love-supreme-best-vinyl-edition.122901/
• Discogs release and community listings for all pressings referenced in the tier table above (original A-77/AS-77, Speakers Corner, AP 45rpm, Acoustic Sounds Series, UHQR, 2025 60th-Anniversary Mono and Stereo Diamond Clear editions, Japanese pressings, MCA/ABC-era represses)
• YouTube, Top 5 Records, "Best Pressing of John Coltrane A Love Supreme? Comparing a US 1965 OG to the UHQR": https://www.youtube.com/watch?v=Z7AwNQBAVds
• YouTube, Bill's Box of Sound, "Coltrane Love Supreme Vinyl Comparisons": https://www.youtube.com/watch?v=OQ2K0rtQsr4
• YouTube, Jazz Bums, "A Love Supreme, Mono Pressing Deep Dive": https://www.youtube.com/watch?v=5mFIGYJ4dIw
• YouTube, WCB Jazz Vinyl, "John Coltrane's A Love Supreme vinyl release in MONO": https://www.youtube.com/watch?v=clO66AYjRnY
• YouTube, Pieces of Vinyl, "Understanding John Coltrane A Love Supreme UHQR 45 RPM": https://www.youtube.com/watch?v=d3QuIf7N8N4
• YouTube, Ten-Minute Record Reviews, "John Coltrane - A Love Supreme (Episode 90)": https://www.youtube.com/watch?v=YJX5_JWZna0
• YouTube, The 'In' Groove, "A New John Coltrane A Love Supreme Mastercut Coming for $450 from Supersense??": https://www.youtube.com/watch?v=qXAP45d1ZKw

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