known live recording of the "Love Supreme" suite was of a performance at the Festival Mondial du Jazz Antibes in Juan-les-Pins, France, on July 26, 1965. On October 29, 2002, the album was reissued as a remastered deluxe edition by Impulse! Records with this live performance and the alternate takes on a bonus disc. A further iteration with more studio breakdowns and overdubs was issued as a three-disc complete masters edition released by Impulse! on November 20, 2015. The other known live recording of the suite was recorded October 2, 1965, at The Penthouse in Seattle. The set was recorded by saxophonist Joe Brazil. This live performance was released on October 22, 2021, by Impulse! as A Love Supreme: Live in Seattle. Reception and legacy Released in January 1965 by Impulse! Records, A Love Supreme became one of the most acclaimed jazz records, and contemporary critics hailed it as one of the important albums of post-war jazz. By 1970, it had sold about 500,000 copies, far exceeding Coltrane's usual sales of 30,000, although it never charted on the Billboard 200. It has since been regarded as Coltrane's masterpiece and is "without question Coltrane's most beloved album", according to Robert Christgau, who adds that it "cemented 'Trane's divine status in Japan". A Love Supreme was widely recognized as a work of deep spirituality and analyzed with religious subtext, although cultural studies scholars Richard W. Santana and Gregory Erickson argued that the "avant-garde jazz suite" could be interpreted otherwise. According to music professor Ingrid Monson of Harvard University, the album was an exemplary recording of modal jazz. Nick Dedina wrote on the Rhapsody web site that the music ranged from free jazz and hard bop to sui generis gospel music in "an epic aural poem to man's place in God's plan". Calling it a "legendary album-long hymn of praise", Rolling Stone said that "Coltrane's majestic, often violent blowing (famously described as 'sheets of sound') is never self-aggrandizing" and that he is "aloft with his classic quartet", "soar[ing] with nothing but gratitude and joy" on a compelling journey for listeners. The Rolling Stone Jazz Record Guide (1985) said that "each man performs with eloquence and economy", while calling the album "the masterpiece from the quartet's studio work", "the first comprehensive statement of Coltrane's spiritual concerns", and "the cornerstone of many Coltrane collections". On the other hand, jazz critic Tom Hull said that he