11 Songs, 47 Minutes

EDITORS’ NOTES

New York trumpeter/vocalist Brian Newman debuted in 2016 with Eyes on the City, but he landed on the map through his work producing and bandleading for Lady Gaga (on the soundtrack to A Star Is Born and the Tony Bennett duet project Cheek to Cheek). With his major-label debut, Showboat, he continues to hone his exuberant style as a singer and player, recruiting Gaga herself for a smoky ballad performance on “Don’t Let Me Be Misunderstood.” Clearly Newman is after more than light swing and romantic crooning: The album’s instrumental workouts are strong, right from the leadoff original, “San Pedro,” with pointed solo work from Newman, saxophonist Steve Kortyka, and drummer Joe Peri. “Sunday in New York,” a Mel Tormé vehicle (cowritten by Peter Nero of Philly Pops fame), captures Newman’s assertive way with a vocal, though he also looks to other influences in Beck (“Tropicalia”) and Tom Waits (“Jockey Full of Bourbon”). He’s got a greasy organ-jazz side as well (courtesy of pianist/keyboardist Alex Smith), which comes through in the retro feel of “Spooky.”

EDITORS’ NOTES

New York trumpeter/vocalist Brian Newman debuted in 2016 with Eyes on the City, but he landed on the map through his work producing and bandleading for Lady Gaga (on the soundtrack to A Star Is Born and the Tony Bennett duet project Cheek to Cheek). With his major-label debut, Showboat, he continues to hone his exuberant style as a singer and player, recruiting Gaga herself for a smoky ballad performance on “Don’t Let Me Be Misunderstood.” Clearly Newman is after more than light swing and romantic crooning: The album’s instrumental workouts are strong, right from the leadoff original, “San Pedro,” with pointed solo work from Newman, saxophonist Steve Kortyka, and drummer Joe Peri. “Sunday in New York,” a Mel Tormé vehicle (cowritten by Peter Nero of Philly Pops fame), captures Newman’s assertive way with a vocal, though he also looks to other influences in Beck (“Tropicalia”) and Tom Waits (“Jockey Full of Bourbon”). He’s got a greasy organ-jazz side as well (courtesy of pianist/keyboardist Alex Smith), which comes through in the retro feel of “Spooky.”

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