No one is supposed to play the banjo this way.

No one is supposed to play two saxophones simultaneously, let alone with such remarkable intonation.No one is supposed to be so deft with such little pretension while playing the bass, either.

And while we're at it, what's up with that funky, hybridized drum machine/guitar?

But play they do, and a raucous crowd soaked up every bit of Bela Fleck and company's melding of futuristic and contemporary jazz, funk, r&b and bluegrass.

Consisting of a few older hits patchworked with pieces from the band's latest release, "Left of Cool," the nearly 2 1/2-hour show was dazzling from the first strains of Fleck's pre-war Gibson model instrument to the driving finale and crowd favorite, "The Sinister Minister."

While the most prevalent genres included jazz and bluegrass, elements of myriad music types were presented.

From the blistering tenor and alto sax work of wind instrumentalist Jeff Coffin on the opening tune, "Throwdown at the Hoedown," to the languid, Middle Eastern-influenced chords Fleck released with "Shanti," the musical gamut was run.

Among the several highlights from the charged and dynamic show were each of the members' lengthy solo moments.

Bassist Victor Wooten - who drove the audience to ovations with two solos - slapped, thumped, finger-boarded and generally beat his bass into submission with musical brilliance and ingenuity. A medley that included the Beatles' "Norwegian Wood" was especially nice.

Wooten's brother and band drummer Future Man was altogether unique, from stage presence to choice of instrument.

Introduced by Fleck as being from the year 2050, Future Man creatively played the Drumitar, a drum/audio work station integrated into the body of a gutted Synth-Axe guitar. His vocals on "Let Me Be the One," and "Communication" were fantastic.

Coffin was simply awesome in a gutty blues tune Fleck called "www.stinkysblues.com".

Taking inspiration from the late multi-instrumentalist genius Rahsaan Roland Kirk, Coffin successfully worked his Selmer alto and tenor simultaneously, sustaining demanding chords and difficult breathing requirements.

Not to be left out of the fun, Fleck's solo would have made the likes of bluegrass legend Bill Monroe pleased. Interweaving a theme of "Happy Birthday," Fleck really started cooking as he segued into "Foggy Mountain Breakdown."

The only drawbacks: For some reason, opening band Sun Masons was cancelled. Oh, and a memo to the granolas and hippies dancing in the aisle - public drunkeness went out with, say, moshing. At least at a venue like Kingsbury. Keep it in the canyons, please.