Sally Beamish has hit the big 7-0, and to celebrate, she’s released an album that is equal parts eclectic, autobiographical, and a family reunion you can actually listen to. The album features friends and her ridiculously talented musical family, with Beamish herself serving as a musical shapeshifter who feels right at home in classical, jazz, or folk fiddle - all while playing her own instrument, the viola.

The album opens with April, a luminous chaconne for viola and accordion that memorializes her friend, jazz pianist Ellis Marsalis Jr. It’s equally poignant as Gerropaedie for viola and harp, a Satie-inspired birthday gift for an elderly patron - because nothing says “happy birthday” like a musical tribute to a dead French composer.

Much of the album is autobiographical, because why not mine your own life for material? Crescent, a trio for viola, piano, and trumpet, is inspired by family games growing up in Islington, wistfully offset by what she refers to as her father’s emotional absence. The likable Sally’s Tune is a portrait piece by Celtic folk musicians Catriona McKay and Chris Stout, presumably because Beamish’s own tune wasn’t enough.

As for the family, there’s Lurk, a sly, spiky tango for accordion and viola by singer-songwriter son Laurie, while the mournful Where You Are is by her other son Tom - because every family needs at least one tango and one weepy ballad. House of Wonder, which immortalizes the summerhouse where Beamish would withdraw to compose, is written, played, and sung by harpist daughter Stephanie. And Beamish’s bluesy Night Songs include singsong vocals by her husband, the writer Peter Thomson - because if you’re going to release a personal album, you might as well get the whole household involved.