It was supposed to be just another Halloween party in the Castro of San Francisco, a time to cut loose and not worry about the supernatural, a time for magical practitioner Mason and his ifrit Louie to mingle and relax. That is, until one of Mason’s ex-girlfriends, Sarah, is found on a beach, alive but with absolutely no one at home inside. As Mason and his fellow practioners try to figure out just who or what could have ripped Sarah’s soul and essence from her body and turned her into a breathing corpse, they discover what might be a connection to other such incidents in nearby Portland. Enter crack practitioner Rolando and his sister Jo, called down from Portland to help crack the case. Rolando’s an old friend of Mason’s, and it’s almost immediately evident that Jo wants to be more than friends, something the relationship-deprived Mason sorely needs.

However, as Mason shakes down some of the most likely culprits, including the black practioner Byron, he discovers evidence which makes him suspect that his old pal Rolando may be up to no good. But who’s he to trust, the guy he worked with on previous cases of magical miscreance, or a guy who dabbles in the dark arts? Things are further complicated by some unsettling revelations regarding the true nature of the enigmatic fey, and some hints as to the origin of the ifrit which only a few, very lucky, practioners have as partners. Mason’s always wondered where Louie came from, and why he looks like a dog, and why some people get ifrit pets/partners and others don’t . . . but could the answer be a vital clue behind who’s sucking out souls and practicing illicit possession?

Levitt does an excellent job of maintaining the mystery that lies at the heart of the storyline, feeding the reader plenty of red herrings and vague clues along the way, even as he delves further into Mason’s background and Louie’s true nature. As with Dog Days, magic and music are heavily intertwined, and the very spirit of San Francisco gives this book a certain romantic-noir tone all its own. When Mason gets a chance to cut loose musically, such as with his guest session with the interestingly-named Dagger Dykes (an all-girl band who desperately need more screen time, in my humble opinion; they’re too good not to return), he really comes alive, and it’s clear Levitt’s put some real passion into that aspect of the character. (As well he should, being a musician himself.)

New Tricks has a lot of honest appeal going for it, in terms of atmosphere, personality, and mystery; it’s got this jazz-meets-noir tone that helps it stand out from others of its ilk, and Mason’s a hero worth following. My only complaint is that the book ends on a rather abrupt note, once the final problem is dealt with. That sharp fade to black may help to accentuate the underlying melancholy tone suggested by Mason’s point of view narration, but I’d have liked to see more of the aftermath and repercussions played out. As it stands, I’ll just have to wait for the next book to get more of my fix. Definitely give this series a shot if you like urban fantasy.