The first of two nights at Denver’s Sound Track begins with a truly delightful version of Formentera Lady with Boz giving an especially reading of lyrics that he wasn’t always comfortable singing. Collins flute work, weaving between the words is always good to hear but tonight he’s on fine lyrical form - a vein he continues in as he switches to sax after the main song.

It’s a fast-paced version compared to the usual tempo with Wallace adding some sizzling cymbal work and half way through the team really begin to open up the throttle as racous sax and the crooning arc of Boz’s vocals and glancing bass take this into more extreme hybrid free-jazz territory.

Though he’s sadly unde-rmixed on this particular soundboard, Fripp’s solo in Sailor’s Tale nevertheless offers a contemplative alternative to the preceding brouhaha and ballyhoo. Happily the sound problems with the guitar are resolved by the coda and Fripp’s laser-beam tone rises up through the ‘tron brass like some malevolent beast.

An honourable and slightly distracted outing of Ladies finds Boz momentarily amused by Ian’s backing vocal in the chorus, whilst blowing section of The Letters enables the band to scratch and growl to great effect, with an added chugging rhythmic work-out more usually associated with their encore improvs. Its resolution back to the song structure is beautifully handled. With a first-class vocal from Boz, this may well be the best live version of this song.

Schizoid Man once again proves itself as a dependable vehicle in which to take off and head for the stratosphere. Wallace is constantly inventive and supports Fripp’s increasingly convoluted fretboard gymnastics with unerring precision. Another gig where an introspective interlude takes the piece into an interesting place before revving back up to fire on all cylinders. Agile bass work from Boz also makes this a cracking version that’ll make you wonder how they did it.