When 24-year-old Joshua Redman won the Thelonious Monk International Jazz Saxophone Competition in 1991, the jazz world took notice. By 1993, with two albums already under his belt, Redman entered the studio to record Wish — a record that would become a landmark of 1990s acoustic jazz and a defining moment of his early career.
At a time when the "Young Lions" movement was bringing acoustic jazz back into the mainstream, Redman's debut had already turned heads. But Wish was a different beast entirely. For this project, he assembled a piano-less quartet of staggering ability: the legendary guitarist Pat Metheny, the visionary bassist Charlie Haden, and the master drummer Billy Higgins.
The album closes with two live tracks recorded at the legendary Village Vanguard, a sharp contrast to the studio recordings. They capture the raw, unfettered energy of this quartet, with the title track and the nearly 13-minute Haden original "Blues for Pat" allowing the musicians to stretch out in an extended, improvisatory jam that feels both celebratory and spontaneous.
Recorded at the Village Vanguard, showcasing the group's live chemistry. Charlie Haden
Critics were uniformly impressed. Alex Henderson of AllMusic, in a review that has come to define the album's legacy, praised Redman's "ability to provide jazz interpretations of rock and R&B songs." He noted that even when tackling such disparate material, the album maintains a compelling "collective identity, a real organic unity," a phrase Redman himself used to describe the project. Joshua Redman - Wish -1993- -Lossless FLAC-
A Masterclass in Modern Post-Bop: Revisiting Joshua Redman’s Wish (1993)
Jazz is a genre of "air" and "space." In a standard MP3, the subtle decay of Pat Metheny’s hollow-body guitar or the delicate shimmer of Billy Higgins’ ride cymbal is often compressed into a flat, metallic hiss.
For audiophiles and jazz purists, experiencing this album in is not just a preference; it is a necessity to capture the nuanced interplay of one of the greatest quartets ever assembled. The Lineup: A "Supergroup" Before the Fame
The digital booklets often provided with FLAC downloads offer incredible insights into the recording process. When 24-year-old Joshua Redman won the Thelonious Monk
The album has since been released in a lossless FLAC format, allowing listeners to experience the music in its purest form, with every detail and subtlety preserved. For those who appreciate the nuances of jazz and the artistry of Joshua Redman, "Wish" remains a timeless classic, a must-listen for anyone who loves the genre.
Offering his signature woody, deep-rooted pulse.
Engineered by James Farber at Power Station (NYC) and produced by Redman himself, Wish captures an ideal “in the room” sound: warm, transparent, with just enough air. The CD and later lossless digital transfers reveal Blade’s cymbal shimmer, McBride’s woody attack, and Redman’s reed texture in vivid detail — exactly the kind of recording audiophiles seek in FLAC format.
To help you get the absolute most out of this album, let me know if you would like to explore the recommended for FLAC audio, or if you need help finding similar 1990s post-bop albums to expand your high-fidelity jazz collection. Share public link But Wish was a different beast entirely
In 1993, Joshua Redman was at the absolute forefront of the "Young Lions" movement—a generation of young musicians revitalizing acoustic jazz with virtuosic technique and profound reverence for the tradition. Having won the prestigious Thelonious Monk International Jazz Saxophone Competition in 1991, Redman's self-titled debut earlier in 1993 turned heads.
: Celebrated bassist who, along with Higgins, was a cornerstone of Ornette Coleman’s original quartet. Billy Higgins : Master drummer.
Upon its release on September 21, 1993, Wish was met with widespread critical acclaim and commercial success. It not only resonated with critics but also performed exceptionally well on the charts, peaking at number one on the Billboard Top Jazz Albums chart. Its popularity helped solidify Redman as a major force in contemporary jazz, with the album and its self-titled predecessor together selling over a quarter of a million copies.