The recording project I've mentioned before in this column, that of documenting the historical and significant pipe organs of Rhode Island, is finally (!) in the can. (Except that today, of course, we no longer use cans. Or tape, for that matter.) It has been a learning and growing experience for us all—more than a dozen remote-location recording dates, spread over eight months.

The recording project I've mentioned before in this column, that of documenting the historical and significant pipe organs of Rhode Island, is finally (!) in the can. (Except that today, of course, we no longer use cans. Or tape, for that matter.) It has been a learning and growing experience for us all—more than a dozen remote-location recording dates, spread over eight months.

The recording project I've mentioned before in this column, that of documenting the historical and significant pipe organs of Rhode Island, is finally (!) in the can. (Except that today, of course, we no longer use cans. Or tape, for that matter.) It has been a learning and growing experience for us all—more than a dozen remote-location recording dates, spread over eight months.

The recording project I've mentioned before in this column, that of documenting the historical and significant pipe organs of Rhode Island, is finally (!) in the can. (Except that today, of course, we no longer use cans. Or tape, for that matter.) It has been a learning and growing experience for us all—more than a dozen remote-location recording dates, spread over eight months.

Label heads—those at the very highest positions of power at music companies. To anyone who's spent time near the record business, they're a mythical breed. Like gnomes. Or dragons. Often, it's their vision that spells success or failure for the label they run. And what they say goes. Over the years, many a legendary creature has assumed the title: Goddard Lieberson, Clive Davis, Mo Ostin, to name just a few of those who have survived and prospered. The list of those who did not is at least twice as long.

Label heads—those at the very highest positions of power at music companies. To anyone who's spent time near the record business, they're a mythical breed. Like gnomes. Or dragons. Often, it's their vision that spells success or failure for the label they run. And what they say goes. Over the years, many a legendary creature has assumed the title: Goddard Lieberson, Clive Davis, Mo Ostin, to name just a few of those who have survived and prospered. The list of those who did not is at least twice as long.

Todd Garfinkle, guiding light of <A HREF="http://www.marecordings.com">M&bull;A Recordings</A>, travels the globe recording provocative music in unbelievably wonderful acoustic settings. Todd travels to exotic climes such as Macedonia and Southern Siberia to capture unique and beautiful traditional ethnic music and song. He records with only two omnidirectional microphones, the signals of which are fed into handmade recording equipment designed especially for his work. Kathleen and I caught up with him at St. Peter's on 20th Street, a popular recording venue in the West Village. After wrapping a session, Todd stopped by our loft, where we rolled some tape of our own...

Todd Garfinkle, guiding light of <A HREF="http://www.marecordings.com">M&bull;A Recordings</A>, travels the globe recording provocative music in unbelievably wonderful acoustic settings. Todd travels to exotic climes such as Macedonia and Southern Siberia to capture unique and beautiful traditional ethnic music and song. He records with only two omnidirectional microphones, the signals of which are fed into handmade recording equipment designed especially for his work. Kathleen and I caught up with him at St. Peter's on 20th Street, a popular recording venue in the West Village. After wrapping a session, Todd stopped by our loft, where we rolled some tape of our own...

Todd Garfinkle, guiding light of <A HREF="http://www.marecordings.com">M&bull;A Recordings</A>, travels the globe recording provocative music in unbelievably wonderful acoustic settings. Todd travels to exotic climes such as Macedonia and Southern Siberia to capture unique and beautiful traditional ethnic music and song. He records with only two omnidirectional microphones, the signals of which are fed into handmade recording equipment designed especially for his work. Kathleen and I caught up with him at St. Peter's on 20th Street, a popular recording venue in the West Village. After wrapping a session, Todd stopped by our loft, where we rolled some tape of our own...