One of the mysteries of the record industry has been the neglect of a composer as refreshing, inventively important and communicative as Chou Wen-Chung. A few of his impressive works appeared during the LP era, but over the past 30 years there’s been almost nothing new. So we can stand and applaud Albany for this release of five works for mixed chamber groups, played by five different ensembles.

The disc opens with the title work, Echoes from the Gorge (1989) for percussion quartet, conducted by Claire Heldrich. Heldrich also leads the New Music Consort for Yü Ko (1965)– using alto flute, English horn, bass clarinet, trombone, bass trombone, piano and two percussionists. Speculum Musicae adds Yün (1969) for wind quintet, trumpet, trombone, piano and two percussionists under Donald Palmer, plus the brief 1951 Suite for Harp and Wind Quintet. Members of Boston Musica Viva (clarinet, two cellos and piano) close with Windswept Peaks (1990). The unusual instrumental combinations only hint at Chou’s individuality, which combines some hints of his Chinese birth with his long career in New York, much of it as Professor of Musical Composition at Columbia University.

Chou (1923- ) was born and raised in China, arrived in the United States in 1946. He originally intended to study architecture, but always interested in music, he gradually switched to composition, studying with Martinu, Nicholas Slonimsky and Otto Luening, with whom he helped found the Columbia Electronic Laboratory. But Chou’s larger influence grew from his work with Varèse.

A few highly successful orchestral works using Chinese coloration drew wide attention in the early 1950’s, especially thanks to his Landscapes, when CRI recorded them under conductor Thor Johnson. The Suite for Harp and Winds of 1951 presents a fine example of Chou’s tonal music on this survey, as does Yü Ko (1965), which maintained that mild tradition — music which carries the aroma of bamboo and soy sauce.

But the other three works all delve into the world of dissonant freedom and complex rhythms associated with Varèse­ — indeed, the recent Windswept Peaks sounds distinctly serial…hinting at Elliott Carter’s music (One only hopes Yo-Yo Ma gets to record Chou’s new Cello Concerto.) But whatever the idiom, be it mild or aggressive, Chou always includes some subtle hint of Chinese sonic mannerisms. All are the work of a serious composer of high intellect.

Performances are generally excellent. The one exception comes from mildly sloppy intonation from Boston Musica Viva. Extensive booklet notes come with the disc, as well as fine sonics. Anyone interested in modern music will be rewarded by this release.