Claire Cope returns with EVERY JOURNEY, a striking evolution of her voice and vision.
Adhyâropa Records
Brigitte Beraha – Voice; Freddie Gavita – Trumpet; Mike Soper – Trumpet, Flugelhorn; Anoushka Nanguy – Trombone; Matt Carmichael – Tenor Sax; Rob Cope – Bass Clarinet, Baritone Sax, Flute; Ant Law – Guitar; Claire Cope – Piano; Gavin Barras – Double Bass; Jon Ormston – Drums; Jack McCarthy – Percussion
Five years after the debut of SMALL WORLD, British composer and pianist Claire Cope returns with EVERY JOURNEY, a striking evolution of her voice and vision. Inspired by the bravery of pioneering women, Cope’s latest work is rooted in her own experiences while speaking to the shared challenges of taking risks and embracing change.
The clearest sign of growth is Ensemble C’s expansion from a septet to an 11-piece group. With a bigger lineup, Cope explores new textures, layering harmonies with sharp, unexpected bursts of melody. There are hints of inspiration from Maria Schneider’s sweeping orchestral jazz, the expansive melodic journeys of the early Pat Metheny Group, and Michael Brecker’s intricate arrangements, but Cope shapes these influences into something distinctly her own.
Much of the album’s inspiration comes from real stories of fearless women. Jacki Hill-Murphy’s “Adventuresses” and “The Extraordinary Tale of Kate Marsden” serve as narrative sparks, fueling compositions that are as adventurous as their subjects. This thematic thread is particularly powerful in pieces like “Flight,” which soars in tribute to Bessie Coleman, the first woman of African American and Native American descent to earn a pilot’s license in the US. Jack McCarthy’s percussion brings a vibrant Latin groove, while Gavin Barras’s deep bottom bass lines and Jon Ormston’s dynamic drumming push the momentum forward. Matt Carmichael on tenor sax and Ant Law on guitar deliver standout solos, capturing the spirit of adventure that runs through the piece.
The opening track, ‘Every Journey (Has a Beginning),’ opens the album with an airy, spacious vibe. Brigitte Beraha’s wordless vocals have a hymn-like quality, floating serenely over the soundscape. Ant Law’s guitar weaves through the piece alongside Gavin Barras’s resonant bass, laying down a solid framework. The horns ease in subtly, gradually building in intensity as Baraha’s vocals bounce off their swelling energy, sparking a lively back-and-forth.
A somber piano intros ‘The Birch & the Larch, recounting the fable “Leprosy in Love,” which Hill-Murphy weaves into her biography of Kate Marsden. Gentle bass and subtle drum support follow, while the horns lay down whole tones as the piano repeats soft, reflective phrases. Brigitte Beraha’s lyrics add a layer of beauty and seriousness, her voice carrying the weight of the story. Mike Soper’s rich, expressive flugelhorn solo stands out, followed by another graceful piano solo from Cope.
‘Isabel’ is another highlight, named after Isabel Godin des Odonais, the first woman known to have traversed the length of the Amazon River. Beraha’s voice is like another horn in the section, crystal clear and just as agile, blending seamlessly while matching every run, swell, and flourish. A web of intricate, interlocking rhythms tumble from percussionist Jack McCarthy, pushing the momentum. Standout solos from baritone saxophonist Rob Cope, trombonist Anoushka Nanguy, and trumpeter Freddie Gavita add to the energy.
Cope describes this project as being about “courage, overcoming anxiety, and finding inner peace.” EVERY JOURNEY reflects that strength, serving as a reminder that the hardest part is often just taking the first step.
