Andalusi' musical instrumentation consists primarily of the oud, kamanja, darbuka, tar & rebab (see more detailed information on links below)
Judeo-Spanish (Ladino): Merges & adapts with the local musics while still retaining its unique character.
Flamenco: flamenco guitar, palmas. Modern flamenco utilizes the cajon and a wide variety of western instruments such as the flute, saxophone, drum set & piano.

The Al-Andalus Ensemble (2005)

Our group Al-Andalus may be likened to an Andalusi chamber music ensemble.
Tarik & Julia are multi-instrumentalists and perform primarily on the oud (plucked, fretless lute), flamenco guitar while switching to other instruments in the same performance, even sometimes in the same piece to ney (reed flute), kamanja (Western violin), darbuka (goblet shaped drum), Andalusian tar (small tambourine) and bendir (frame drum). They perform acoustically. Pictured above from L-R is Virtudes, Tarik, Rasgui & Julia.

Tarik plays an Iraqi oud, which, in the Arab tradition of humbleness of the maker, is unsigned. Tarik is left handed, and uses an unusual tuning (G,C,D,G,C,F) which was initially popularized by the late Iraqi oudist, Munir Bashir.
For oud strings he prefers PYRAMID Renaissance Lute strings of the "Historical Bowed & Plucked Instruments" line.

Julia plays a pegged 1962 Conde Hermanos flamenco guitar.
For guitar strings, she plays Savarez strings (Red Card, high tension).

Andalusi', Judeo-Spanish & Flamenco musics are living traditions, constantly affected and modified by the circumstances of the society in which they are rooted. As a folk-art, the complexity and sophistication embodied in these musics has been passed down from generation to generation by direct imitation for most of its history. This dynamic has only been challenged recently as the varied impact of global media, transnationalism, transculturalism and modernization increasingly dialogue with "tradition."

Andalusi' Instrumentation: The classical Andalusian music tradition in Morocco is referred to simply as al-ala "the instrument," al-tarab al-Andalusi (Andalusian music) or more commonly it is most often referred to by my consultants as simply Andalusi (Andalusian).

Historically, the Andalusian ensemble has never followed a rigid format regarding instrumentation (Schuyler 1978:39). The inclusion and exclusion of certain instruments depends as much upon the availability of musicians as on the "fashion" of certain instruments.

Several sources on Arabic music history mention orchestras consisting of one hundred lutes, but there is no doubt that the traditional ensemble, in both North Africa and the Middle East, included perhaps four to eight musicians. . The growing size of the orchestra has affected both the sonority and the texture of l-'ala l-Andalusian. In a larger group much of the subtlety of the music is often lost (Schuyler 1978). Thus, the smaller size of our al-Andalusi ensemble may be more in keeping with an older tradition.

The modern Andalusian ensemble numbers in upwards of thirty musicians is composed of instrumentalist-singers performing on the oud, kamanja, darbuka and Andalusian tar. Doubling of the instruments is common. Commercial orchestras frequently play a variety of genres and incorporate a more diverse instrumentation which increasingly includes the keyboard even for Andalusian pieces

The core of the Andalusian repertoire song texts were formed in the centuries after the death of Ziryab (arrival in al-Andalusi 822) and the development of two new styles of Arabic poetry in Spain (Schuyler 1978). These new forms, known as the muwashshaat and zajal were a revolution in Arabic poetry because of their new organization of poetic strophic forms and stanzas (Schuyler 1978).

The nawba (song cycle) comprises the muwashshaat. It is constructed around a linked succession of stanzas which differ from the main aruz "meter" of classical Arabic and Andalusi zajal and barwala (poems sung in Dareja, the Arabic dialect of Morocco). The sung poetic text is called the Sanfia("craft," "art" or "masterpiece"). http://www.afropop.org/explore/style_info/ID/86/Andalusian%20music/

Flamenco Instrumentation: Originally, flamenco consisted of unaccompanied singing (cante) and the songs remain the heart of the tradition. Later the songs were accompanied by the flamenco guitar (toque), rhythmic hand clapping (palmas), rhythmic footwork and dance (baile). The toque and baile are also often found without the cante. More recently other instruments such as castanets (castañuelas) and the cajón (a wooden box instrument which originates in Peru used as a percussion instrument) have been introduced.

Amid controversy, a new musical school fusing "traditional" flamenco with outside influences (initially jazz and salsa) with was pioneered in the late 1960's by guitarist Paco de Lucía and singer Camarón de la Isla. Their work set the foundations for what has since been labeled nuevo flamenco and which has been viewed as a "musical movement that has thrown into turmoil one of Europe's most potent musical forms" (Llewellyn 1993: 39). The nuevo flamenco "movement" continues to evolve with infusions of rock, blues, disco, Brazilian samba, rap, reggae and arabo-Andalusian music as well as diverse Indian, Malian, Senegalese and North African musics. A large number of non-indigenous new performers and aficionados have embraced this expanding and ever evolving tradition as musicians from Spain and around the world take the initiative and use every opportunity to challenge the boundaries of what can permissibly still be considered flamenco. Not surprisingly, the introduction of these new musical genres to flamenco bring with them an ever growing array of instruments. Showing us again that flamenco is not necessarily the instrumentation, but rather the spirit of the performance that makes it flamenco... There are many authors who have attempted to capture this feeling in writing with varying success. Oddly enough, I have found that the work that best describes the intangible of flamenco is actually a book written on African music titled "African Rhythm and African Sensibility" by John Chernoff. It is a book which has been called the "Rosetta stone for mediating, or translating musical behavior and aesthetics."

Judeo-Spanish Instrumentation: The instrumentation of Judeo-Spanish (Ladino) music varies greatly depending upon the society in which it is rooted. The Judeo-Spanish (Ladino) music we perform is from Morocco & Spain, consequently, the instrumentation is primarily oud, guitar, violin, ney, darbuka & bendir. For more information see these links:

http://en.wikipedia.org/wiki/Ladino_language

The musical language of a culture (such as Andalusi, flamenco or Judeo-Spanish is something that is a lived experience which translates fully to all aspects of life. These rhythms and songs are played differently in different areas, thus there is no transcription that can be deemed authoritative. Additionally, notation cannot capture the feel of music, to fully learn a music, you must know its feel. Finely, traditional musics are part of a culture, we should never forget the people who have created and passed down the music. Respect those who have created the music in the world. To learn traditional musics, take classes with the masters, listen before you play, communicate and open your heart.

2007 Touring Ensemble:

Tarik Banzi (oud, banjo, ney, guitar, percussion)
Julia Banzi (flamenco guitar, viola, percussion)

In addition, the following performers are available in USA
Ranjani Krishnan (multi-lingual vocals)
Billy Oskay (classical and Celtic violin)
Charlie Bisharat (classical and Jazz violin)
Rasgui Boujemaa (East Coast) (ney, vocals, kamanja, percussion)

In Europe and North Africa
Virtudes Sanchez Moreno (multi-lingual vocals)
Noureddine Chekara (vocals, kamanja, percussion)

Flamenco, Andalusian & classical Spanish dance adds a rich visual and rhythmic element to the performance
Maria Jose Franco: Jerez, Spain (flamenco dance)
Ana Montes (flamenco dance)
Margarita Bruce (flamenco dance)
Zahra: Modern, Jazz, Classical ballet, Andalusian dance

We sometimes incorporate other instrumentation into our performances such as piano,clarinet, mandolin, trumpet and bass.