DescriptionDespite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. In addition, I have taken a look at two arrangements and solos, from what has often been referred to as Jimmy Raney’s seminal years. The results of which showed a great deal of versatility from Jimmy Raney, as the two have little in common. In conclusion, Jimmy Raney helped define a new role for the jazz guitar, with abilities to create spontaneous lines from one song to the next with as much originality as any instrument or musician in the jazz idiom might.