If it’s true opposites attract, then that certainly explains the unlikely blues-jazz duo of vocalist John McLean and guitarist Charles Barkatz. The octogenarian McLean, a longtime American in Paris, is a Renaissance type who has seemingly done it all: acting, directing, leading jazz groups and now songwriting. The Parisian-born Barkatz, 21 years McLean’s junior, is well-versed in blues and jazz as well as other forms of world music.

Eventually, they inquired if Austin producer Mark Kazanoff of Texas Horns fame would be interested in producing their genre-straddling record. Ultimately, ‘Kaz’ acquiesced and surrounded his pond jumpers with a jammin’ studio band that included his own Texas Horns and guitarist Rich O’Brien.

It’s not your typical blues fodder, but it does bring a fresh, artistic perspective. McLean wrote nine of these 10 songs that range from lighthearted fare (“The Brooklyn Blues Café,” “Shadow Man”) to more profound, introspective material (“Sister of Mine”). His protagonists often battle their demons to improve their lot and those around them, as evidenced by “Bathtub Blues” and “She Cry Blues.” The “Leaky Shoes Blues” and the celebratory “The Brooklyn Blues Cafe” reference Parisian rain and a French blues joint, raising the question of how many songs would do that? 

Though guitars, horns, and a banshee harmonica are prevalent in the arrangements, there are also flute, soprano sax, and stringed harp, adding a novel yet unexpected touch to the sonic landscape. 

Barkatz wrote and sang the only non-McLean original, the mystically whirling “Silver Lake” in French. It also raises the question, how many times would you hear a bluesy tune in French? Not many, which makes Shadow Man one of the more unique recordings in recent memory.