Like Yazz Ahmed’s Polyhymnia, which celebrated women of courage, Cope’s Every Journey focuses on the adventuresses, those who travelled into the unknown, like Kate Marsden who trekked across Siberia seeking a cure for leprosy or Isabel Godin des Odonai, the first woman to travel the length of the Amazon.

Cope acknowledges her debt to another of her heroines, Maria Schneider, with most of the pieces engorged with Schneider-like swathes of brass, to the point that the four-horn section sometimes swamps the arrangement. Even ‘The Birch and the Larch’, replete with a Beraha lyric, which starts frostily spare, builds to a many-voiced climax.

Within its VistaVision horizons, there are bejewelled details. Nanguy gets a lovely space on ‘Isabel’ while McCarthy has a percussion break as befits the Latin theme. Gavita likewise brings brassy brilliance in contrast to the lower registers of Rob Cope’s baritone or Soper’s flugel which itself is outstanding on ‘Home’, as he duets with Beraha’s baby babble vox. Which fits well with Cope’s own adventure, having given birth prior to completing Every Journey. Cope joins the likes of Laura Jurd and Hedvig Mollestad who have been inspired by maternity, if from very different positions. This is a newer theme for the jazz sensibility and one, surely, to celebrate.