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Krebs was first and foremost an organist. He was a pupil of Bach at the Thomasschule in Leipzig from 1726 to 1735. Krebs also learned the lute and the violin in Leipzig. Some possible teachers in Leipzig at that time: Johann Caspar Gleditsch (d 1747), Maximillan Nagel (b 1712; d 1748), Maximilian Nagel - in Leipzig to 1744- , and Johann Christian Weyrauch (b 1694; d 1771). Bach regarded Krebs as one of his favourite pupils. From 1735-37 he studied at the University of Leipzig. Simultaneously he was occasionally assisting as a harpsichord player in Bach’s Collegium Musicum. Krebs was later organist in Zwickau (1737-1743), Zeitz (1744) and Altenburg (1755). His instrumental works reflects both the Bachian style and the galant style. It becomes apparent from his two concertos for lute and strings that he must have been a very qualified lutenist

Omar Khorshid, (1945-1981): Star of the cinema and leading guitarist of the Orient, Omar Khorshid has also composed the music for thirteen films andin 1971 won the Premier Prix at the Film Festival of Tachkand for his music for the film “Tbnati El Aziza”. He is renowned as one of the greatest guitarist of the Arab world and has accompanied all it’s leading singers… Umm Kulthum, Abdel Wahab, & Abdul Halim Hafez.

Radio Tarifa is one the outstanding world music groups of the turn of their time. Their name derives from the town of Tarifa, which is the part of Spain nearest to Morocco. The group's mixture of Spanish and Arabic music is not itself new (see Juan Peña Lebrijano. for example). What is new is that instead of simply fusing musical styles as they currently exist, Radio Tarifa goes back in time to the common past of those styles, back to before 1492 when the Moors and Jews were exiled from Spain, and imagines a shared style that might have evolved had history been different, including not just elements of Spanish and Arabic music but also other musics of the Mediterranean, of the Middle Ages, of the Caribbean. This invented style is not only fascinating in its own right, but sheds light upon the real styles of Spain, most notably flamenco.

The guitar maestro explores the roots of English folk music back to mediaeval times on this classic 1979 album. Besides his unmistakable instrumental contributions, 'The Black Balloon' also features the flute work of Tony Roberts. John Renbourn composed this album as a modern version of the eight standard musical forms of mediaeval Britain. Consisting solely of Renbourn's guitars, accompanied by traditional percussion instruments and a flute, it gives a completely new identity to the concept album. Listen late at night, with candles and red wine, and float away on "The Pelican" and "The Black Balloon." A fiery dance, the "Tarboulton" allows guitar and flute to show off. A collection of ayres, danceries, a pastoral fantasia, and an abstract fantasia. A classic.

Majâz is the Joubran Trio's second opus, for which the trio brought in percussionist Yousef Hbeisch. A new international tour, made all the richer for his artistic contribution, is at the heart of their programme for the 2007-2008 season. This new album reveals the maturity of a trio that took flight with Randana, and whose Majâz is an invitation to travel.

During a lull in the Roxy Music circus troupe's lengthy 70s run, guitarist Phil Manzanera took the unusual step of revisiting an old previously un-recorded group. Reconstituting Quiet Sun with a line-up that included keyboardist Dave Jarrett, bassist Bill MacCormick and drummer Charles Hayward, he scored a most unlikely triumph (well in a musical sense, not a commercial one!). Quiet Sun's only album is as far away from Roxy Music's standard fare as you can get, being a more overtly progressive set of barn-storming jazz-rock that is not dissimilar to the efforts of say Hatfield And The North. In fact, this ironically titled album is nothing short of a lost Canterbury classic. I think this album is much better than any single album Manzanera cut with Roxy Music. If anything, despite belonging firmly in the Canterbury camp, Mainstream is a little more spacey and a little more symphonic, than yer "average" Canterbury masterpiece. A real treat awaits you here, folks!

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Benjamin Ivry wrote: The legendary CD series featuring Mannheim Steamroller is noteworthy for its freedom from musical categorization as well as its overall refinement, from conception to sound quality. The London Symphony Orchestra is backed by able soloists on the synthesizer, piano, violin, oboe, and drums, and their direct, unassuming musical presentation inspires affection and confidence. The Nebraska-based composer Chip Davis (the brains behind Mannheim Steamroller) performed for years with the acclaimed Norman Luboff Choir, where he polished his expertise by orchestrating his own melodies as well as those from films and the classics. The name Mannheim Steamroller refers to an eighteenth-century classical style of playing an orchestral crescendo as if to flatten audiences. But the new CD, Mannheim Steamroller: Romantic Themes, will inspire, not flatten, listeners with chastely moving tunes from Mozart’s Piano Concerto No. 21, and Nino Rota’s medieval-sounding, heartfelt "Love Theme" from the Franco Zeffirelli film Romeo & Juliet. What Davis calls "eighteenth-century classical rock" transforms captivating melodies into ardent songs of praise.

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Suleyman the Magnificent is the soundtrack for the film of the same name which focuses on the life of the great Sultan of the Ottoman empire. Sultan Suleyman reigned from 1520-1566 and was renowned as a consummate reformer of law and administration. His was a golden age of art and architecture. Brian Keane's soundtrack embodies this historic sense of greatness and splendor. The music is at once exciting and profound. Keane has brilliantly scored traditional Turkish melodies and his own original melodies from a combination of authentic Turkish instruments. These instruments include the tanbur (long necked lute), daire (drum), kanun (plucked boxed zither), and kaval (rim-blown flute--a pastoral instrument associated with shepherds and nomads). The film aired on the PBS network and was a winner of the American Film Festival and the Ohio State Film Festival awards. It was produced in conjunction with the opening of an art exhibit at the National Gallery of Art in Washington, D.C. for which major funding for the film was provided by the Republic of Turkey.