There is nothing wrong with short, sharp writing, and nothing wrong with longer, multi-claused work, what matters is that the work is varied enough to maintain interest and that the pace and feel of a passage is correct for the actions being described. In mysteries, giving the reader the major clue in the middle of other details is a way of being fair but cheating. To do such a thing by design is one thing. I doubt if more than one story in a hundred that I receive needs loosening. I often recommend cutting until the story seems jerky, then adding just enough words to make it flow again.
Less words conveying the same message means more power.
You can always cut. Never believe you cannot. But when we talk about cutting, we are not talking about writing that need be terse, merely writing that is powerful and compact. Tight writing doesn't have to mean minimalist writing. They talked for fifteen minutes, and just before leaving God touched him on the eyes, nose and lips.