Front Country

CBA Bluegrass Breakdown
Bluegrass Confidential – Vern’s Stage Act: Front Country
by Chuck Poling

San Francisco has always fostered an atmosphere of creativity and innovation since the days of the gold rush. Whether it’s art, music, food, or literature, the “anything goes” spirit of the city encourages experimentation, of- ten combining elements of different cultures to create something entirely new.

This spirit of innovation is apparent in a new San Francisco-based bluegrass band, Front Country, appearing on Vern’s Stage at the 2012 Father’s Day Bluegrass Festival. Each of the members brings a unique combination of influences and perspectives on bluegrass music to create a sound that ranges from staunchly traditional to strikingly progressive. Whatever the source of the song, anything that Front Country performs highlights an impressive lineup of instrumental and vocal talent.
The band features Zack Sharpe thumping the bass, Melody Walker and Jacob Groopman on guitars, Adam Roszkiewicz on mandolin, Jordan Klein picking banjo, and Leif Karlstrom tearing up the fiddle. Vocal chores are passed around with Melody, Jordan, and Jacob handling most of the leads.

As a group they’re fairly young and come from a generation that has been exposed to music from many places and many eras. Individually, they each bring their own take on how to meld these diverse ingredients into a distinct sound that honors tradition while blazing new ground. I asked each of them to talk about their influences and their personal musical histories.

“I grew up going to the Strawberry Music Festival where my dad and his best friends would jam all weekend long and sing ‘70s revival style bluegrass/southern rock in four-part harmony,” explained Melody. “I knew all those tunes by heart before I even knew who wrote them.” But this was just one of many strains that spoke to her. She majored in music at Humboldt State University and was exposed to music on a global scale.

“I used to study and play a lot of world music in college and thereafter. A samba bateria, a West African drum and dance ensemble, an afro-funk band, a world-fusion a cappella group, a steel band. I also did a lot of 20th Century Art Song (classical voice) in school.”

Leif started with violin as a child and played in various youth orchestras, as well as playing guitar in a ska/punk band. “I went to school at University of Oregon and got a violin performance degree,” he said. But he soon found himself heading to a bluegrass jam at Sam Bond’s Garage in Eugene. “Then I decided that improvisation and folk music were more fun than classical music so I ditched it.”

Zach comes from a bluegrass family in Indiana. “Dad played banjo and mom played guitar. I grew up listening to them and their band, the Better Than Nothing Band. The first thing I noticed was the connection people had when they played music together.”

His favorite artists range from Flatt and Scruggs and Jimmy Martin to funk bands like Oakland’s Tower of Power and the Meters of New Orleans. Zach played in MacNasty, a Sacramento funk band, and credits leader Larry Davis with helping him learn how to keep a solid rhythm and how to appreciate the power of music. “He made me realize that when you play music, you’re connected to the earth and human spirit in a whole new way,” said Zach.

Zach has also benefited from associating with the one-man bluegrass organization known as Avram Siegal. “He’s been teaching me banjo for the last four years. He taught me to approach music with precision, focus, and drive,” said Zach.

Jordan Klein grew up with his parents listening to smooth jazz and bits of stuff from the 60s folk revival like Pete Seeger, the Chad Mitchell Trio, and Peter Paul and Mary. “When I was in college, I like many others discovered bluegrass by traveling backwards from jam band music.”

He lists a steady progression from Phish to the Grateful Dead to David Grisman, and ultimately to Bill Monroe. Once his interest in bluegrass was piqued, Jordan was incredibly fortunate to have a neighbor who just happened to know a thing or two about banjo.

“I grew up in Fair Lawn, New Jersey, where Tony Trischka has lived for many years,” Jordan explained. “In fact, by a random stroke of luck, I got to know him outside of music, so when I was 19 years old and decided to start playing the banjo, I was able to just call Tony up. I went over to his house and he lent me a banjo and got me started with a few basic roll patterns. So blame Tony for one more banjo player in this world.”

Adam’s musical background covers a lot of territory. “My family listened to lots of different kinds of music,” he said, “and there was always music on in the house. Both my parents played guitar; my mom also played piano. We listened to everything from Mozart and Bach to David Bowie, Michael Hedges, Doc Watson, Mississippi John Hurt, the Cars…I could go on. The cool thing was that we really listened to it; music was an in - California Bluegrass Assocation

CBA Bluegrass Breakdown
Bluegrass Confidential – Vern’s Stage Act: Front Country
by Chuck Poling

San Francisco has always fostered an atmosphere of creativity and innovation since the days of the gold rush. Whether it’s art, music, food, or literature, the “anything goes” spirit of the city encourages experimentation, of- ten combining elements of different cultures to create something entirely new.

This spirit of innovation is apparent in a new San Francisco-based bluegrass band, Front Country, appearing on Vern’s Stage at the 2012 Father’s Day Bluegrass Festival. Each of the members brings a unique combination of influences and perspectives on bluegrass music to create a sound that ranges from staunchly traditional to strikingly progressive. Whatever the source of the song, anything that Front Country performs highlights an impressive lineup of instrumental and vocal talent.
The band features Zack Sharpe thumping the bass, Melody Walker and Jacob Groopman on guitars, Adam Roszkiewicz on mandolin, Jordan Klein picking banjo, and Leif Karlstrom tearing up the fiddle. Vocal chores are passed around with Melody, Jordan, and Jacob handling most of the leads.

As a group they’re fairly young and come from a generation that has been exposed to music from many places and many eras. Individually, they each bring their own take on how to meld these diverse ingredients into a distinct sound that honors tradition while blazing new ground. I asked each of them to talk about their influences and their personal musical histories.

“I grew up going to the Strawberry Music Festival where my dad and his best friends would jam all weekend long and sing ‘70s revival style bluegrass/southern rock in four-part harmony,” explained Melody. “I knew all those tunes by heart before I even knew who wrote them.” But this was just one of many strains that spoke to her. She majored in music at Humboldt State University and was exposed to music on a global scale.

“I used to study and play a lot of world music in college and thereafter. A samba bateria, a West African drum and dance ensemble, an afro-funk band, a world-fusion a cappella group, a steel band. I also did a lot of 20th Century Art Song (classical voice) in school.”

Leif started with violin as a child and played in various youth orchestras, as well as playing guitar in a ska/punk band. “I went to school at University of Oregon and got a violin performance degree,” he said. But he soon found himself heading to a bluegrass jam at Sam Bond’s Garage in Eugene. “Then I decided that improvisation and folk music were more fun than classical music so I ditched it.”

Zach comes from a bluegrass family in Indiana. “Dad played banjo and mom played guitar. I grew up listening to them and their band, the Better Than Nothing Band. The first thing I noticed was the connection people had when they played music together.”

His favorite artists range from Flatt and Scruggs and Jimmy Martin to funk bands like Oakland’s Tower of Power and the Meters of New Orleans. Zach played in MacNasty, a Sacramento funk band, and credits leader Larry Davis with helping him learn how to keep a solid rhythm and how to appreciate the power of music. “He made me realize that when you play music, you’re connected to the earth and human spirit in a whole new way,” said Zach.

Zach has also benefited from associating with the one-man bluegrass organization known as Avram Siegal. “He’s been teaching me banjo for the last four years. He taught me to approach music with precision, focus, and drive,” said Zach.

Jordan Klein grew up with his parents listening to smooth jazz and bits of stuff from the 60s folk revival like Pete Seeger, the Chad Mitchell Trio, and Peter Paul and Mary. “When I was in college, I like many others discovered bluegrass by traveling backwards from jam band music.”

He lists a steady progression from Phish to the Grateful Dead to David Grisman, and ultimately to Bill Monroe. Once his interest in bluegrass was piqued, Jordan was incredibly fortunate to have a neighbor who just happened to know a thing or two about banjo.

“I grew up in Fair Lawn, New Jersey, where Tony Trischka has lived for many years,” Jordan explained. “In fact, by a random stroke of luck, I got to know him outside of music, so when I was 19 years old and decided to start playing the banjo, I was able to just call Tony up. I went over to his house and he lent me a banjo and got me started with a few basic roll patterns. So blame Tony for one more banjo player in this world.”

Adam’s musical background covers a lot of territory. “My family listened to lots of different kinds of music,” he said, “and there was always music on in the house. Both my parents played guitar; my mom also played piano. We listened to everything from Mozart and Bach to David Bowie, Michael Hedges, Doc Watson, Mississippi John Hurt, the Cars…I could go on. The cool thing was that we really listened to it; music was an in - California Bluegrass Assocation

-"Great original songs and instrumentals, choice covers, intricate arrangements and inspired improvisations" Chuck Poling, California Bluegrass Association (Full Article Below)



"With a perceptive and multi-talented lead singer, masterful instrumentalists and the ability to meld many musical influences into a tidal wave of sound, Front Country is poised to take over the world" Brenda Hough, The Bluegrass Breakdown


"To win those competitions you have to be really good and it says a lot about the dynamics of the group" The Gazette, Colorado Springs, CO - various

-"Great original songs and instrumentals, choice covers, intricate arrangements and inspired improvisations" Chuck Poling, California Bluegrass Association (Full Article Below)



"With a perceptive and multi-talented lead singer, masterful instrumentalists and the ability to meld many musical influences into a tidal wave of sound, Front Country is poised to take over the world" Brenda Hough, The Bluegrass Breakdown


"To win those competitions you have to be really good and it says a lot about the dynamics of the group" The Gazette, Colorado Springs, CO - various