It's not often a musician succeeds in remaining under the radar for over a decade and a half and then emerge fully formed with a well conceived and well executed album that prompts the question, ‘Where has he been all this time?’ Chris Dundas, who hails from America's West Coast, combined tennis and music during his college years, debuting with Chris Dundas some 14 years ago. It seems to have been favourably reviewed, but the distance from then until now is a bit hazy, Dundas, perhaps unhelpfully, explaining the time was spent, “writing tunes and saving up money to do the next recording”. Oslo Odyssey sees him at the head of an accomplished quartet that taps a well of creativity inspired by Keith Jarrett's European Quartet of the 1970s. Here, Bendik Hofseth, perhaps best known as Mike Brecker's replacement in the group Steps Ahead, slots authoritatively into the role of the group's lead voice, while master bassist Arild Anderson and drummer Patrice Heral are exemplary throughout. Hofseth's commanding and purposeful tone announces ‘Great Pacific Garbage Patch Waltz’ that begins as a slow waltz, Dundas emerging from his role as accompanist in double time, revealing a neat, accomplished solo style before yielding to Andersen and Hofseth again. The key to this double album is how the arc of each succeeding performance draws you into the music, split between the compositions of Dundas, plus ‘Quiet Now’ by Danny Zeitlin, on CD1 and a disc of ‘pure improvisation’ on CD2. In fact, the second album is not an excuse for wild-eyed soloing, but intense (‘Pilgramage’) and at times inspired interaction (‘Waiting for the 4.20 from Godot’) that makes subtle use of electronics and looping. Dundas has an elegant touch on piano and a well developed harmonic sense (on CD1 ‘Lemming Ade’), his work here suggesting artistic potential as yet unfulfilled. It will be interesting to see if he lingers around after this fine album to see how far his talent can take him.