One measure of a music's status and longevity is where aspiring musicians go to study. Classical players have been applying to conservatories since the early 1800s. In the early 20th century, the few jazz musicians with classical training adapted their technique to jazz, but most learned the trade on the bandstand. By the 1950s, ambitious jazzmen could try their luck with a correspondence course advertised in downbeat magazine or track down a guru like Lennie Tristano.

Today, jazz is a staple of college curriculums across the country. Forward-thinking schools such as Seattle's Garfield and Roosevelt High Schools boast nationally recognized programs that turn out talented musicians ready to gig and go on tour.

And while makers of freely improvised music can hunt and peck at a college here or a university there for lone master improvisers like Anthony Braxton (Wesleyan) or George Lewis (Columbia), most knowledge is still passed along informally at workshops or on stage, which is why I'm excited about Polestar Music Gallery's Autumn Exchange.

An intensive six-night residency of performances and workshops, Autumn Exchange features the London-based duo of bassist John Edwards and saxophonist/vocalist Caroline Kraabel, who perform as Shock Exchange across the UK and Western Europe.

Edwards and Kraabel were breathtakingly kinetic at the 17th Seattle Improvised Music Festival in 2002, and Edwards' rambunctious appearance with the Eddie Prévost Trio made for one of 2003's most memorable gigs. Together with fine locals such as Gust Burns (piano), Greg Campbell (drums), Jesse Canterbury (clarinet), Tari Nelson-Zagar (violin), Matt Crane (drums), Gregory Reynolds (alto saxophone), and others, Shock Exchange seems a sure bet to shake the rafters at Polestar. CHRISTOPHER DeLAURENTI

Autumn Exchange runs Fri Sept 17 through Sat Sept 25 at 8 pm (Polestar Music Gallery, 1412 18th Ave at E Union St, 329-4224), $5-15 sliding scale.

chris@delaurenti.net