Perhaps the most surprising inclusion. Redman takes the Eric Clapton ballad and transforms it into a haunting, melodic masterpiece, proving that jazz can reclaim popular song with dignity. Why "Lossless FLAC" Matters for this Album
(Tenor Saxophone): Delivers a tone that is simultaneously robust, melodic, and deeply expressive.
One of the most recorded drummers in jazz history, Higgins delivers his trademark dancing cymbal work and joyful, infectious swing.
The "reedy" texture of Redman’s tenor sax, from the breathy low notes to the piercing altissimo. Joshua Redman - Wish -1993- -Lossless FLAC-
When saxophonist Joshua Redman released his sophomore album, Wish , in September 1993, he was not just delivering a collection of tracks; he was cementing his place as the vanguard of modern jazz. Coming off a victory at the 1991 Thelonious Monk International Jazz Saxophone Competition, Redman used Wish to prove that his technical brilliance was matched by his emotional depth. For audiophiles and jazz purists, experiencing this pivotal record in Lossless FLAC (Free Lossless Audio Codec) format is not a luxury—it is a necessity to fully appreciate the acoustic nuance of one of the 1990s' finest straight-ahead jazz dates. The Lineup: A Generational Supergroup
The recording sessions took place in two hallowed New York venues. The eight studio tracks were recorded at the historic Power Station (now known as Avatar Studios). To capture the group's electrifying chemistry in a live setting, two additional tracks—Redman's own "Wish" and Haden's "Blues for Pat"—were recorded at the legendary Village Vanguard, a jazz club of iconic status.
Wish is his second album (following 1992’s self-titled debut), but it serves as his artistic manifesto. Rather than assembling a pickup band, Redman curated a supergroup of like-minded peers who would themselves become giants. Perhaps the most surprising inclusion
Following his acclaimed, self-titled debut in 1993, the young saxophonist Joshua Redman faced a unique challenge: how to follow up a successful first album without repeating himself. The answer came in the form of an all-star, piano-less quartet that remains one of the most impressive lineups of the decade. For his second album, Redman enlisted the talents of (guitar), Charlie Haden (bass), and Billy Higgins (drums).
(Jimmy McHugh) – A joyous, swinging rendition that lets the quartet flex their traditional jazz chops.
The album opens with a soulful rendition of Ornette Coleman's blues composition. Charlie Haden’s history with Coleman brings an authentic avant-garde blues feel, while Redman and Metheny trade playful, swinging phrases. One of the most recorded drummers in jazz
The music of Wish defies simple categorization. While the presence of Haden and Higgins could have led the album into avant-garde territory, Redman steered the quartet toward a "mostly inside post-bop date that emphasizes the lyrical and the introspective". This approach is reflected in the album's diverse and compelling tracklist, which clocks in at just over an hour.
(Stevie Wonder) – A tender ballad performance where Redman’s saxophone closely mimics the vulnerability of human vocals.
A nod to the avant-garde roots of Haden and Higgins, played with a infectious, bluesy swagger.
