Master the art of authentic jazz timing with guitarist Paul Bollenback's comprehensive approach to developing groove that goes far beyond mechanical timekeeping. Drawing from his extensive experience performing with Jeff "Tain" Watts and Billy Hart, Paul reveals the critical difference between playing in time and truly grooving—the element that separates competent players from compelling artists. Through targeted play-along exercises with Art Blakey and Grant Green recordings, you'll learn to lock into specific elements of the rhythm section: the ride cymbal's swing, hi-hat patterns, and crucial snare accents. Paul demonstrates how to internalize these rhythmic components individually, building your ability to respond instinctively to any drummer's feel. You'll discover why Billy Hart advocates for flexible time—knowing when to push versus when to lay back—and how this creates the breathing, dancing quality that defines great jazz. The course addresses essential phrasing techniques, including exercises for ending phrases on upbeats and syncopations that create forward motion. Paul shares specific metronome practices that develop your internal groove while maintaining flexibility, moving beyond rigid quarter-note clicking to exercises that actually swing. You'll also explore the often-overlooked connection between technique and timing, understanding how clean execution directly impacts your rhythmic authority. Whether you're preparing for club dates, recording sessions, or seeking to elevate your playing to professional standards, these methods provide the roadmap to transform your relationship with time and make every performance count.

About the instructor

Paul Bollenback →

Paul Bollenback is not only a masterful performer, but a down-to-earth instructor. His approach to jazz is both inspiring yet attainable. Guitar master George Benson, a long-time supporter, has described Bollenback’s work as ". . .bona-fide playing, unambiguous, up-front and powerful," calling him “a versatile dynamo on guitar. His approach to jazz and blues has a uniqueness unto itself . . ..”. That comment has special resonance in that Bollenback counts Benson high among his wide range of influences; these also include Carlos Santana, Wes Montgomery, Kenny Burrell, John McLaughlin, Johnny Winter, and Jimi Hendrix (among guitarists), as well as such giants of improvisation and composition as pianists Herbie Hancock and Bill Evans, and saxophonists Wayne Shorter and John Coltrane.

Time, Tone and Technique

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