Joshua Redman - Wish -1993- -lossless Flac- ★

More importantly, Wish became the blueprint for 1990s acoustic jazz. It proved that a young Black musician could honor Charlie Parker and John Coltrane while engaging with the textures of Pat Metheny’s ECM-style production. Today, Redman is the artistic director of SFJAZZ, and this album remains his most requested work.

The album opens with a tribute to Redman’s harmonic godfather. In , Billy Higgins’ cymbal work is revelatory. The high-frequency extension retains the shimmer of his K Zildjian ride without the brick-walled compression found in lossy formats. You can hear the overtone of Metheny’s acoustic guitar resonating against Haden’s bass before Redman enters with a blistering, melodic solo. Joshua Redman - Wish -1993- -Lossless FLAC-

The music on is characterized by a mix of modern jazz, post-bop, and a hint of blues. Redman's playing style, reminiscent of his idol, John Coltrane, is evident throughout the album. The saxophonist's use of intense, spiritually-charged solos and melodic explorations creates a captivating listening experience. The album also features intricate ensemble playing, with the rhythm section providing a rich, dynamic foundation for the solos. More importantly, Wish became the blueprint for 1990s

A ballad that showcases dynamics. Lossy codecs struggle with the decay of piano and cymbal crashes. In lossless, the silence between Redman’s breathy phrases is as black as vinyl. Metheny’s solo here uses heavy chorus and delay; a poor encode creates phase artifacts, while preserves the pristine, swirling guitar landscape. The album opens with a tribute to Redman’s

Redman opens with a tribute to his father’s old collaborator. This version of Coleman’s deceptively simple blues is a masterclass in phrasing. Redman plays the head with crisp, vocal-like articulation before Higgins locks into a second-line groove. In FLAC, the stick definition on Higgins’ cymbals and Haden’s rich, woody bass plucks are vividly separated.