Chris Robinson Brotherhood (CRB) is much more than individual players built around a popular musician. While there’s no doubt that Chris’ past with The Black Crowes has helped fuel their ongoing surge, it’s unfair to the band and their music to label it as such. This is a band in the truest sense, and over the past four years and counting it would be difficult to argue against such a notion.

It was a bill that was full of bands that I have been anticipating seeing. I have seen members in each band play individually in all-star jams and as guests with other bands, but this was what I was waiting for. The New Mastersounds together with Analog Son and Adam Robinson & the Funky Monks opening. This was a hat trick with three great musical acts for the price of one. The crowd bulked up late, but none the less, they were there, and it was packed.

Last week Denver bluegrass fans were smitten by the presence of a seven-piece bluegrass super-group of some of our favorite musicians for a two night run at the Cervantes Masterpiece Ballroom. Adam Aijala and Ben Kaufmann from Yonder Mountain String Band, Drew Emmitt and Andy Thorn from Leftover Salmon, Bridget Law and Bonnie Paine from Elephant Revival, and guitarist Larry Keel all shared the stage for a first tier, foot stomping picking party. Gipsy Moon opened on Friday night, bringing their soulful, eclectic sound to an upbeat collaboration.

Conductor Matt Butler is a genius! However he got inspired to come up with this idea of improvisational conducting talented musicians was brilliant. The reason that I say this is because it is very pleasant and beneficial to all parties when musicians are happier than the crowd. Everyone wins! There are only a few inspirational times when that happens. I see it when I am at major festivals and musicians are collaborating, or I see it in super jams such as the Everyone Orchestra.

This night was a party, and who could be surprised by that with the amount of talent at Cervantes Masterpiece Ballroom on this night. There were three bands and three painters that created an electric dance space under the giant disco ball to kick off the holiday festivities. The famous Frenchy, Scramble Campbell, and John Bukaty lined their canvas side by side on the left side of the stage and prepared for a night of sheer artistry.

As we feel the weather changing around us, and we realize that Thanksgiving is in the air, we also must celebrate a few other traditions, like revisiting the Last Waltz, or listening to Arlo Guthrie’s “Alice’s Restaurant” on Thanksgiving Day. In Colorado, we now have another tradition around this time of year, invented by the minds of J2G Productions. In the spirit of the Last Waltz, we have our own all-star jam called the Dance Party Time Machine. This machine, escorts the audience through a timeless tale of dance music through a sixty year period.

So many legendary touring acts continue to play and perform on the fortune of their loyal fans coming to see their shows. Stalwarts of the scene know that getting on the road and playing as often as possible is the lifeblood of continuity. Year after year, summer after summer, fans travel to see Phish, Widespread Panic, whatever incarnation of the Dead, and on and on. It’s refreshing when great lesser-worshiped acts get their chance to build a fan base, especially with the support of old mainstay bands.

The veteran cast, all-star group of talent called the Greyboy Allstars is back on the road in support of their newest album entitled, Inland Emperor, which the tour is aptly named after. They started it all off with this two night run at Cervantes Masterpiece Ballroom, which is one of my favorite indoor venues in Colorado. The opening band was the New Orleans funk powerhouse Dumpstaphunk.

We turned onto Welton Street, in the Five Points section of Denver, and started looking for parking for the Band of Heathens show on Friday, and saw around eight police cars posted out in front of the venue. Upon finding a spot a few blocks away, we loaded the glass, negotiated our way through a couple of bands of mooching crackheads and over to Cervantes.

If you are a Deadhead living in SFO, PDX, PHL, BWI, or NYC, I need to talk to you about time and energy. But not in the “How do you get to Carnegie Hall?” tradition of “Practice, Practice, Practice”. Instead, I need to talk to you about the temporal evolution and aggregate electrical output that are quickly molding The Motet’s funkified adaptations of the Grateful Dead songbook into an instant must-see classic.