A Redman original that has become a modern standard. It’s a dark, breathy ballad. Metheny’s synth-guitar pads (often mistaken for strings) swell beneath Redman’s sobbing tenor. On a lossless file, you can hear the reed noise—the subtle friction of breath on cane—giving the performance an intimate, in-the-room presence.
Written for Metheny, this is the album’s joyous romp. It features the guitarist switching to an acoustic sitar-guitar, creating a hollow, buzzing texture. Higgins’ brushed snare work, when rendered in FLAC, reveals the brush-tip swirl with startling realism.
In the pantheon of 1990s jazz, few debacles were as instantly canonical as Joshua Redman’s second album, Wish. Released in 1993, when the young saxophonist was just 24 years old, it didn’t just announce a talent; it solidified a legacy. Three decades later, the quest among audiophiles and jazz purists for the definitive listening experience often ends with the same digital holy grail: Joshua Redman - Wish - 1993 - Lossless FLAC. Joshua Redman - Wish -1993- -Lossless FLAC-
Why does this specific combination of artist, album, year, and format matter so much? Let’s break down the history, the music, and the technical pursuit of sonic perfection.
In the pantheon of 1990s jazz, few debut albums arrived with the weight of expectation—and delivered with such effortless grace—as Joshua Redman’s Wish. A Redman original that has become a modern standard
Released in 1993 on Warner Bros. Records, Wish was not technically Redman’s first album (his self-titled debut came out earlier that year). Instead, it was his statement. It was the record that proved the son of legendary saxophonist Dewey Redman was not merely a heir to a throne, but a king in his own right. And for the discerning listener, the difference between hearing Wish as a compressed MP3 and experiencing it as a Lossless FLAC is the difference between looking at a photograph of the Grand Canyon and standing on its edge.
This article explores why Wish remains a cornerstone of modern jazz, why the 1993 sessions were magical, and—crucially—why the Lossless FLAC format is the only way to truly honor this masterpiece. In the pantheon of 1990s jazz, few debacles
For a lossless digital file to justify its bandwidth, the source recording must have dynamic range. Engineer Joe Ferla (known for his work with John Scofield and Herbie Hancock) captured Wish with remarkable fidelity.
A note on archiving: Because Wish was released in 1993, early CDs are highly sought after. The 1993 Warner Bros. 9 45366-2 pressing is considered by collectors to have superior dynamics to later remasters (which often suffer from loudness war compression).
When searching for "Joshua Redman - Wish -1993- -Lossless FLAC-" , look for these markers of a genuine rip:
Caution: Many low-quality "FLACs" online are simply upsampled MP3s. If the spectral analysis cuts off at 20kHz with a brickwall filter, it is a fake. A true CD rip of Wish has frequency content extending naturally to 22.05kHz.