Biluka Y Los Canibales Leaf-Playing In Quito, 1960-1965

• Biluka Y Los Canibales – Simiatu
• Biluka Y Los Canibales – Huashca De Corales
• Biluka Y Los Canibales – Bailando Me Despido
• Biluka Y Los Canibales – La Naranja
• Biluka Y Los Canibales – Negra Piedad
• Biluka Y Los Canibales – Píllaro Viejo
• Biluka Y Los Canibales – Poncho Verde
• Biluka Y Los Canibales – Anacu De Mi Guambra
• Biluka Y Los Canibales – Isinche Grande
• Biluka Y Los Canibales – Cotopaxi

• 1. Simiatu
• 2. Huashca De Corales
• 3. Bailando Me Despido
• 4. La Naranja
• 5. Negra Piedad
• 6. Píllaro Viejo
• 7. Poncho Verde
• 8. Anacu De Mi Guambra
• 9. Isinche Grande
• 10. Cotopaxi
• 11. Manuco
• 12. Cashari Shunguito
• 13. Pedacito De Corazón
• 14. Tondero
• 15. Árbol Frondoso
• 16. En La Casa Del Prioste
• 17. Marco Pungo
• 18. Rosa María
• 19. Pujilí

**Honest Jon's focus on the out-of-this-world recordings of Dilson de Souza!**

Dilson was from Barra do Pirai, in the Brazilian countryside; moving to Rio as a young man, where he worked in construction. He recorded his first record in 1954, for RCA Victor. He travelled to Quito around 1957, soon hooking up with Benitez & Valencia, who introduced him to the CAIFE label.

Dilson played the leaf open, resting on his tongue, hands free, with his mouth as the resonator. Though a leaf can also be played rolled or folded in half, this method allowed for more precision, a tethered brilliance. A picked ficus leaf stays fresh, crisp and clean-toned for around ten hours. He could play eight compositions, four at each end, before it was spent.