Streaming is good for everybody. Governments gonna work it out. Stop worrying. If you build it online, they will come. Things are a little messy right now but be patient. Future. Now. Music. Modernization. Act. This, more or less, is the official mainstream conversation on the economics of streaming, give or take your complaints about YOUTUBE, and those who disagree are generally referred to as gadflies or some variation thereof. Because they are obviously wrong. But what if they aren’t? MARC RIBOT, veteran shredder of jazz guitars and proud union musician, shreds some of the positive thinking about the MUSIC MODERNIZATION ACT and the streaming economy in this Monday morning must-read for the TRICHORDIST. Going significantly deeper than the typical "my label's on SPOTIFY and all I got was this lousy 10 cents" complaint, Ribot details both sides of the ledger for an indie jazz musician like himself, how the disappearing CD and download market is affecting his wallet and how the entry of large indies like ECM into the streaming world is accelerating that disappearance. And then he suggests concrete legislative solutions. And he is angry. In 3,000-ish words very much worth your while, he explains why... Two other jazzy must-reads for a Monday morning: PIOTR ORLOV, for ROLLING STONE, on jazz's new epicenter in SOUTH LONDON, where players like SHABAKA HUTCHINGS, MOSES BOYD, THEON CROSS and NUBYA GARCIA are redefining what jazz is and could be. The scene may be on the verge of an American breakthrough. Writing with the same energy and deep knowledge with which they play, Orlov traces the scene's roots back to '80s acid jazz and explains what the buzz is about... And BEN RATLIFF ponders the meaning of virtuosity in a lengthy VQR essay that touches on FRANZ LISZT, THELONIOUS MONK, PRINCE and more, including, for example, ERIC CLAPTON, who was once described as "a virtuoso of tedium." Is virtuosity a thing to aspire to? A thing to be skeptical of? A thing to move past? A thing someone can even grasp as it passes through the fingers of so many different players in different mediums in different times? Fantastic music writing, and thinking... ALEXANDRE DESPLAT's ACADEMY AWARD-winning score for THE SHAPE OF WATER evokes the sound of water by using 12 flutes, including alto and bass flutes, and no other woodwinds. No oboes, no clarinets, no bassoons. "It's all very soft, like if you were underwater," he says. Also, totally coincidentally, he's a flutist. Also, duh, it works. Thrilled he won. Would have been equally thrilled if JONNY GREENWOOD won... Also at the DOLBY THEATER Sunday night, COMMON and ANDRA DAY stood up for immigrants, women, PARKLAND high school students, peace and love; MOSES SUMNEY, ST. VINCENT and CHRIS THILE joined SUFJAN STEVENS, unannounced; and if the ceremony did nothing more, musically speaking, than give America a chance to meet the great Mexican pop singer NATALIA LAFOURCADE, that alone would have made it a good night. VARIETY's CHRIS WILLMAN on an inclusionary Original Song race... EGOT X 2... TUMA BASA heading to YOUTUBE... Thoughts, prayers and big beautiful beats to RICK ROSS and KID MILLIONS... RIP PATRICK DOYLE, HARVEY SCHMIDT, EOM, RONNIE PROPHET and JAMES "NICK" NIXON.