When music of the African diaspora comes back to Africa, generally after percolating in the Americas or the Caribbean, the styles—whether they be samba, reggae, blues, funk or jazz—often get reinfused with core African musical aesthetics, like off-beat phrasing, asymmetrical timeline patterns, polyrhythmic complexity or call-and-response. The Cuban-flavored dance music of Guinean-born Senegalese singer Amara Touré, heard here on his singles from the ‘70s and his only record as a solo artist made in 1980—with a band put together in Cameroon and recorded in Gabon—is dynamic. Touré’s voice interacts with the horns and guitars in startling ways, with all three mimicking and echoing each other. The saxophone picks up and completes vocal lines with fluid ease on “Cuando Llegare.” The stately grooves are built around the meshed interplay, with a sturdy rhythmic underpinning from drums, bass and organ. Touré, who was an excellent percussionist as well, sang with an intense declamatory zeal, but he could also shade into a silky and kneebuckling falsetto as a surprise flourish, like on “Salamouti.” Touré had a 30-year career, but he only made a handful of recordings, which helps explain why his peers in some of West Africa’s best dance bands speak so highly of his talents.