Joyce Jones calls herself “the accidental organist.” Why? Because, years ago, when she was an undergrad at the University of Texas, she sprained her hand badly. She was a piano student. During the six-week recovery period, she studied the organ, doing pedal exercises. And that set the course of her life. At every recital she plays, she offers a piece that features the pedals. “It is my way of thanking God,” Ms. Jones says, “for showing me what he wanted me to do with my life.”

Ms. Jones explained all this at the beginning of her recital on Thursday afternoon. That recital was held at Trinity Church, at Broadway and Wall Street. This was part of the series called Pedals and Pumps: A Festival of Organ Divas.

Ms. Jones is organ mistress at Baylor University, in Waco, Texas. And during her hour at Trinity, she proved herself a charming woman who loves music and loves life. She also proved herself a very good organist.

She began her program with the pedal-heavy piece: “Pageant” by Leo Sowerby, the Midwest composer (1895-1968) who was once known as “the dean of American church music.” “Pageant” could also be called a fantasy. It is not immortal music, but it is creditable, and it certainly gives the organist plenty to do — especially with his feet.

And Ms. Jones has very virtuosic feet. (I have never written such a sentence, in thousands of reviews.) Her footwork included trills and arpeggios. You could see her deft pumps on the video monitors installed throughout the church.

Readers may wonder whether Ms. Jones ever looked down at her feet — oh, yes. It is not cheating.

She continued her program with one of the best-known organ works of Bach: the Passacaglia and Fugue in C minor, BWV 582. And, before playing, Ms. Jones told a charming story (another one). She said that, when young, she went through a “purist mode.” (Didn’t we all.) She sprayed her playing “with Lysol disinfectant” — everything was by the book.

But studies with Karl Richter, the master, all-purpose German musician, loosened her up. She realized she could use different registrations, different colors — and then she went to town.

Which she did on Bach’s Passacaglia and Fugue. This was not a clean performance — it included some sloppiness, and veered off track. I have no doubt that Ms. Jones can play this piece better. But it was an intelligently and pleasingly calibrated performance. And the resolution in C major was glorious.

I would like to share a personal thought with you: It occurred to me how nice it was to hear a woman pealing out Bach, in a church so near the place that Dark Age monsters targeted, almost seven years ago.

Next on the program was “Fileuse,” by Marcel Dupré — the title refers to a woman who spins. And this piece is a little squirmy thing, quiet, impish, and buzzy. I thought of it as a slightly modernist “Flight of the Bumblebee.” And Ms. Jones handled it very, very deftly.

She ended her printed program with a big Liszt work — the first piece he ever wrote for organ. This was the Fantasy and Fugue on “Ad nos, ad salutarem undam” (1850). The piece treats a chorale by Meyerbeer. And it is typical Liszt: wild, episodic, ruminative, and outsize.

Ms. Jones played it with great imagination and fluency — she did everything the old devil required. This was an impressive example of Romantic organ playing. And, by the way, the piece ended with a C major even bigger and more thrilling than the one that crowned the Bach.

Ms. Jones was not done yet, providing two encores. The first was an organ transcription of Prokofiev’s Toccata for piano. Ms. Jones referred to this as “the organist’s revenge” — because others are always poaching organ works for transcription. (Actually, the traffic is probably equally heavy both ways.) And she bade farewell with the old song “The Church in the Wildwood.”

Trinity Church is Webcasting these recitals on its Web site. That is the future — and it is very good. We can’t say how lucrative it will be for producers — for presenting organizations and performers. But, for consumers, it is very good indeed.