1.      A. Chicago - The two major styles of jazz during the racially-segregated 1920s broke down along ethnic lines. Black Chicago jazz featured more blues influences and placed a higher premium on spirited improvisation, while White Chicago music was more compositional and commercial. Of course, there was a great deal of cross-pollenation between the two schools; Louis Armstrong acknowledged White Chicago trumpet player Bix Beiderbecke's mastery of jazz interpretation, and the influence of African-American bands on their Euro-American counterparts is ubiquitous.

2.      C. Classic Blues - In addition to Bessie Smith and Ma Rainy, other Classic Blues divas include Mamie Smith, Alberta Hunter, and Ethel Waters. Their sophisticated, thoroughly arranged performances (though still allowing for great range of improvisation) were generally more polished - and more commercially successful - than the Country and Delta styles of the day, which generally featured solo performers or small ensembles and emphasized guitar over horn and piano instrumentation.

3.      D. Swing - The swing era was unquestionably the best time to get a job for a jazz musician, due to the proliferation of touring "territory" bands and the cachet of having live music at even lower-end gatherings. Styles ranged from the harmonically sophisticated work of Duke Ellington (who wrote in several sub-genres and whose music is probably the most academically interrogated of all jazz composers) to the more commercial work of Glenn Miller, whose big band produced what was probably the most popular music of his generation.

4.      C. Bebop - Most jazz historians credit the musicians' recording strike of the early 1940s with the birth of bebop. Without the industry's pressure to create commercial music, elite jazz players in swing bands began to explore more advanced musical possibilities, including "extended" harmonies (using the upper degrees of chords) and increased improvisation away from a composition's original melody while staying (mostly) true to its chord progression. Among the conventions of bebop are melodies built on arpeggios, smaller ensembles (usually piano, bass, and drums, with 1-3 horn players), and the real abandonment of "dancibility" in most cases. Bebop was almost self-consciously "art" music, as opposed to "dance" or "pop" music.

5.      B. Hard Bop - The record label most closely identified with hard bop through the 1950s and '60s was Alfred Lion's Blue Note records, which issued such hard bop classics as Art Blakey's "Moanin", Horace Silver's "Song for My Father", and Herbie Hancock's "Watermelon Man" and "Cantalope Island". Other artists to record with Blue Note included John Coltrane (whose "Blue Train" may be characterized as hard bop, though most of Coltrane's music defies categorization), Cannonball Adderly, and Dexter Gordon.

6.      C. Cool Jazz - Probably the most popular cool jazz tune is Dave Brubeck's "Take Five", featuring Paul Desmond on alto saxophone. This piece makes good use of a 5/4 meter, meaning the rhythm falls into alternating three and two beat clusters; if you're counting along with the song, you'll sound something like: "1-2-3,4-5; 1-2-3,4-5". Other musicians often classified as cool jazz include the Modern Jazz Quartet and Chet Baker.

7.      B. Free Jazz - Coleman's album, featuring Don Cherry on pocket trumpet, Eric Dolphy on bass clarinet, Freddie Hubbard on trumpet, and Coleman on plastic alto saxophone, does have some compositional elements, including the contrast in play between the two drummers, Billy Higgins and Ed Blackwell, who play in straight and double time, respectively, as well as some guidance from Coleman on melody. Though Coleman's work remains divisive, several performers have followed his lead, including John Coltrane (in his later recordings) and the World Saxophone Quartet. Perhaps the most profound reaction to Coleman's work came from bassist and bandleader Charles Mingus, who said of free jazz: "We don't all have to start playing like Ornette, but we need to stop playing like Bird." ("Bird" refers to Charlie Parker, whose bebop innovations, revolutionary in the 1940s, were becoming clichéd fifteen years later.)

8.      A. Third Stream - The success of third stream music is debatable, though not in the same terms as that of free jazz. Pianist Claude Bolling's work with virtuosos Jean-Pierre Rampal and Yo-Yo Ma (masters of flute and cello, respectively) is eminently listenable, but has been criticized for lacking substance. Conversely, some of the most renowned twentieth-century "classical" music, including the work of George Gershwin and Claude Debussy, has distinct jazz influences, though labeling it "third stream" is a stretch. On the other hand, the great pianist Bill Evans made such great use of the vocabulary of Debussy and other classical composers that it might be said that Evans' music realizes the "mid-point" that Schuller aspired to.