Shortly after establishing itself as the proverbial "little indie label that could," Mercury Records began to explore beyond its native Chicago for R&B talent in other locales. The Mercury Blues 'n' Rhythm Story 1945-55: West Coast Blues (1997) is an anthology gleaned from the more geographically comprehensive six-disc Mercury Blues 'n' Rhythm Story 1945-55 (1996) box set. Prior to the upsurge of California-based imprints -- most notably Capitol Records -- Mercury was garnering attention from a significant coterie of Los Angeles dignitaries. Covering roughly a six-year (1946-1952) span, these platters are brimming with indispensable recordings from acts such as the combo led by pianist Jay McShann and fronted by Jimmy Witherspoon. When compared to the sounds emanating from other concurrent musical hotbeds throughout the States, the West Coast had the edge, having already created its own unique sonic composite of those transplanted from their respective communities. McShann and his aggregate continued to unleash their derivation of big band music, now augmented with Witherspoon's blues-infused shoutin' style. The June 1946 sides that commence this volume are among the earliest to feature McShann's new Sextette, which by and large would remain a consistent unit for several fruitful years. Seminal readings of "Roll On Katy," "I Want a Little Girl," "Bar Fly Blues," and the ever-popular "All My Geets Are Gone" are a few of the essentials to be included. Vivian Green fronts a foursome with bassist Red Callender on "Bowlegged Boogie" and "He's the Man (He's Tall and Cool)." The sole entry by Billy Valentine is worthy of mention, as tenor saxophone legend John Coltrane and bassist Ray Brown accompany the pianist/vocalist on his November 1949 session for "Beer Drinking Baby." Similarly, collectors and enthusiasts should be aware of baritone saxophonist Big Jim Wynn's pair of selections, as they are highlighted by Eddie "Lockjaw" Davis' tenor sax. Although Johnny Otis' prolific studio career had begun in the late '40s, these dates from mid-1952 would be the first to gain sizable distribution, making "Baby Baby Blues," "Last Mile," and "The Game Is Over" considerable additions to his burgeoning catalog. The Joe Liggins material from 1954 is nothing short of proto-rock, with Leiber & Stoller's "Yeah, Yeah, Yeah" leading the charge. ~ Lindsay Planer, All Music Guide