• 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.

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