Pete Aves tells the tale of his new release. ‘Stranded on Jersey for seven weeks during the summer of 2003 and with the release of Down Beat only days away I began work on the tracks for what subsequently became A Family Tree. My search for a recording location led me to Ray (Gilbert) O’Sullivan’s Jersey Rock studio hidden away in the depths of (appropriately) St Peter’s parish. We escaped the fierce summer heat with tea and gold discs in the studio control room and a date was set. Thus on Sunday 31st August myself, James Pusey (sitar), Martin Cohen (guitar) and Duncan Miller (piano) committed three tracks to disc. ‘…in which the true Nature of the Heart is considered’ examines the wonders of modern medicine while ‘Don’t Believe What You Eat’ laments the demise of dietary common sense. ‘Sailing Again’ is a languorous water poem, perfect for a blazing afternoon afloat just off the Jersey shore.’

‘In the less hospitable climate of Bermondsey on a November Sunday afternoon the keen observer might have spied two tweed and waistcoat clad figures pushing an elderly organ along the streets of Southwark. Who else but the Aves creature and legendary sidekick, aide de camp, right hand man and drinking associate Mike Barnes en route to Surrey Dock studios, there to capture four more performances aided by Paul Jarrett (drums) and Christian Vaughan (elderly organ), the whole bun fight engineered by the unflappable Paul Garraway. ‘The Driver’s Tale’ will be familiar to anyone who’s ever delivered twenty bags of 20mm pea shingle to a building site just off Clapham Rd, and the rest of you can enjoy ‘Safe As Milk’, ‘LP’ and ‘You’, reflections on celebrity, gramophone records and nothing in particular.’

‘Not until the following June did I return alone to Surrey Dock to record seven unaccompanied songs. Recorded in one short evening the songs are presented free from editing of any kind. It’s a bit like having me in your home but without the inconvenience; after all, who’ll look after the dog while I’m tuning up? And so one day we came to ‘Faldouet’, and in August of 2004 I spent a charming afternoon at home with Sarah Freestone (violin and vocal), recreating a bit of Iron Age Jersey in the front room, Wurlitzer and all. And thus did A Family Tree grow from a seed to a cd.'

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Poet and veteran Aves watcher Roy Marshall writes. ‘Pete’s latest collection combines craft, innovation, imagination, affecting emotional directness and his trademark touches of humour and pastiche to tell stories, inform, reminisce and to conjure up places and people.

‘Monday 22nd July,1974’ is a tender recollection of a day in childhood, at once personal and redolent of so many childhoods of the sixties and early seventies. This is no angst ridden trip but instead an acknowledgement of the simplicity and joy of being a happy child. Gentle nostalgia for the lucky Banana Splits generation, and why not?

‘Don’t Believe What You Eat’ is a grown up message song which deals with pressing contemporary issues such as childhood obesity and the sickening contrasts of global poverty and over consumption without sounding self conscious or self righteous, which is an achievement. ‘How’s The Enemy, Raymond?’ displays a light touch and shows off Pete’s immaculate playing and the intimate warmth of his voice.

A combination of sitar, keyboard and guitar weave a spell on ‘Sailing Again’ while in the John Martyn inspired ‘Solid Fuel’ the acoustic guitar flames leap and smoulder. A perfect match of music and lyric , it tumbles into the beautiful sitar and piano of ‘..in which the true Nature of the Heart is considered’, a song which speaks with the wit, directness and emotional honesty of Cole Porter. ‘Columbia’ evokes the classic jazz sessions of Blue Note and Columbia, with an insistent guitar driving a poetic lyric. This one could have slipped from the pen of Joni Mitchell, and I think she should hear it.

As with many of Pete’s best songs ‘Faldouet’ defies classification by musical genre or subject matter and takes you travelling with him to an atmospheric, cinematic location. Uniquely inventive and refreshing.

‘Metaphorically Speaking’ is a tale of blunt disappointment that only a born clown can conjure. While others may clothe themselves in self delusion this droll self deprecating analysis of a situation is the lyrical equivalent of turning up naked to a dinner party.

‘Safe As Milk’ reminds us that even the most revered of icons eat, sleep and shit. Or once did. The lyric doesn’t attack the legend of Lennon, but by describing the ironic contrasts between the popular image and the mundane realities and failures it reveals the all too familiar contradictions within an ordinary life. All this over a Pepperesque web of guitars and Kite-like keyboards.

And onwards to the end. ‘The Driver’s Tale’ ,with its Floydian float and rushing sweep wavelike chorus. ‘The King of Nowhere.’ Captivating. Haunting. Lovely.‘LP’, complete with perfectly executed doo wop moment, a loving tribute to the magic of vinyl records. ‘This one’s from our new LP…album…whatever you call ‘em over here.’

‘How To Make A Cup Of Tea.’ Could this be an outtake from Dylan’s ‘Blood On The Tracks?’ The lightness of touch. The wistfulness. The survivor. And then the last track, ‘You’, leaves me wanting a whole album of this type of song. One for the tweed plus-fours and green ribbon lattice work traditional Greek milk maid legging sporting hipster, yes.