Gyedu-Blay Ambolley’s 31st album is named after the street where he was born more than 70 years ago—a gesture that invokes Ambolley’s connection to his Ghanaian roots while also marking how far he’s come. Building on the same cool, self-assured mix of West African and black American styles Ambolley has been exploring his whole career (1975’s Simigwa is great; 1982’s Ambolley is worth checking out, too), 11th Street, Sekondi comes on like the music of an artist settling confidently into his later years, a mix of conviction and timeworn steadiness heard on the Ghanaian/funk hybrid of “Black Woman” and the Fela-on-ice of “Ignorance.” The glue is Ambolley’s voice, an oratorical baritone dropping sharp social observations with the unhurried ease of a guy who knows—knows!—people are listening.