00:00 Saxophone begins with a fanfare as cymbal rolls and splashes are played in the background
00:32 As the fanfare recedes a melodic motive of 4 notes starts in the bass 
00:40 Drums start making "time"
00:48 Piano enters
01:03 Sax enters with new melodic material (still motivic in nature). Piano generally keeps two note movement taken from opening bass motive as the "comping" pattern.
01:20 Notice how the saxophone works and reworks its melodic material, adding it to itself to create longer lines
01:30 Example of ascending and descending chromatic chord patterns used by the piano. Listen for constant motivic variation by the saxophonists.
01:43 melodic activity increases
02:02 Bass begins to move toward 4 beat patterns instead of variations of the motive. Loose references to the motive are maintained most of the time and passed between the various players.
02:30 Notice how the drummer keeps a reference to the motive on the toms while responding to the motivic accents of the saxophonist on the cymbals and snare. At the same time the bass player keeps an active bass line you can still hear references to the original bass motive
02:55 Saxophonist continues to develop the motive at the extremes of his instrument
03:07 Example of bass 4 beat pattern which still reflects motive
03:15 Saxophone lines are quicker but still reflect the motivic unfolding of ideas
03:25 Soloist brings the melodic curve down
03:40 He brings it back up as it also gets more fragmented
04:04 Example of soloists using short fragmented statements of the motive.
04:15 Soloists pushes the motive against the limits of his range
04:30 Coltrane brings the energy level down by using intersperse melodic fragments and moving lower in his range
04:54 Now the base motive is picked up by Coltrane and used in a chant like repitition at different pitch levels
05:10 Notice the comping in the piano as it pulls chromatically up and down from the otherwise frozen harmonic area
05:50 Coltrane still holding on to the single motive at the same pitch as the energy level is again reduced
06:07 The players begin to sing the motive as a chant "A Love Supreme" as the piano player plays dramatic chords in the background 
06:36 The chanting shifts harmonically which proves to be quite dramatic because the harmony has been frozen for so long
06:42 Chanting stops and leaves just the rhythm section which gradually thins its activity
07:00 Piano player makes a final statement and then drops out leaving only the bass and drums
07:08 Piano drops out
07:24 Drums drop out leaving only the bass which ends the performance the way it began after the fanfare
07:49 End