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Ragtime – The origins of Jazz: Rhythms brought from a musical heritage in Africa were incorporated into cakewalks, coon songs and the music of "jig bands" which eventually evolved into ragtime. c.1895 the first Ragtime song was published by Ben Harney. The music, vitalized by the opposing rhythms common to African dance, was vibrant, enthusiastic and often extemporaneous. Notably the precursor to Jazz styles, early Ragtime music was set forth in marches, waltzes and other traditional song forms but the common charcteristic was syncopation. Syncopated notes and rhythms became so popular with the public that sheet music publishers included the word "syncopated" in advertising. In 1899, a classically trained young pianist from Missouri named Scott Joplin published the first of many Ragtime compositions that would come to shape the music of a nation.

Classic Jazz – At the beginning of the 1900's, Jazz styles took the form of small-band music and is credited to New Orleans. This musical style is sometimes mistakenly referred to as "Dixieland" but is less solo-oriented. Though traditional New Orleans jazz was performed by blacks, whites and African-American creoles, "Dixieland" is a term for white performers revival of this style. New Orleans style, or "Classic Jazz" originated with brass bands that performed for parties and dances in the late 1800's and early 1900's. Many of the musical instruments had been salvaged from the Confederate War which included the clarinet, saxophone, cornet, trombone, tuba, banjo, bass, guitar, drums and occassionally a piano. Musical arrangements varied considerably from performance to performance and many of the solos embellished the melody with ornaments of improvisation. This lively new music combined syncopations of ragtime with adaptations of popular melodies, hymns, marches, work songs and the Blues.

Hot Jazz – c.1925 Louis Armstrong recorded his first Hot Five records - the first time he recorded under his own name. The records made by Louis Armstrong's Hot Five and Hot Seven are considered to be absolute jazz classics and speak of Armstrong's creative powers. The band never played live, but continued recording until 1928. The music was characterized by improvised solos, around melodic structure, that ideally built up to an emotional and "hot" climax. The rhythm section, usually drums, bass, banjo or guitar supported this crescendo, many times in the style of march tempo. Soon, larger bands and orchestras began to emulate that energy, especially with the advance of record technology, that spread the "hot" new sound across the country.

Swing – The '30s and '40s belonged to Swing. During that classic era, most of the jazz groups were Big Bands. Derived from New Orleans jazz style, Swing was robust and invigorating. Swing was also dance music, which served as it's immediate connection to the people. Although it was a collective sound, Swing also offered individual musicians a chance to improvise melodic, thematic solos which could at times be very complex. The mid 1990's saw a revival of Swing music fueled by the retro trends in dance. Once again young couples across America and Europe jitter-bugged to the swing'n sounds of big band music, often played by much smaller ensembles.

Bebop – Developed in the early 1940's, Bop had established itself as vogue by 1945. It's main innovators were alto saxophonist Charlie Parker and trumpeter Dizzy Gillespie. Until then, Jazz improvisation was derived from the melodic line. Bebop soloists engaged in chordal improvisation, often avoiding the melody altogether after the first chorus. Usually under seven pieces, the soloist was free to explore improvised possibilies as long as they fit into the chord structure. Differing greatly from Swing, Bebop divorced itself early-on from dance music, establishing itself as art form but severing its potential commercial value. Ironically, what was once thought of as a radical Jazz style, Bebop has become the basis for all the innovations that followed.

Vocalese – The art of composing a lyric and singing it in the same manner as the recorded instrumental solos, Vocalese reached its highest point from 1957-62. Performers may solo or sing in ensemble, supported by small group or orchestra. Bop in nature, vocalese rarely ventured into other Jazz styles and never brought commercial success to it's performers until recent years. Among those known for writing and performing vocalese lyric are Eddie Jefferson and Jon Hendricks. Mainstream - After the end of the big band era, as these large ensembles broke into smaller groups, swing music continued to be played. Some of swing's finest players could be heard at their best in jam sessions of the 1950s where chordal improvisation now would take significance over melodic embellishment. Re-emerging as a loose Jazz style in the late '70s and '80s, mainstream jazz picked up influences from cool, classic and hardbop. The terms Modern Mainstream or Post Bop are used for almost any Jazz style that cannot be closely associated with historical types of Jazz music. Cool - Evolving directly from bop in the late 1940's and 1950's, Cool's smoothed out mixture of bop and swing tones were again harmonic and dynamics were now softened. The ensemble arrangement had regained importance. Nicknamed "West Coast Jazz" because of the many innovations coming from Los Angeles, Cool became nation wide by the end of the 1950's, with significant contributions from East Coast musicians and composers.

Hard Bop – An extension of Bebop that was somewhat interrupted by the Cool sounds of West Coast Jazz, Hard Bop melodies tend to be more "soulful" than Bebop, borrowing at times from Rhythm & Blues and even Gospel themes. The rhythm section is sophisticated and more diverse than the Bop of the 1940's. Pianist Horace Silver is known for his Hard Bop innovations. Bossa Nova - A blend of West Coast Cool, European classical harmonies and seductive Brazilian samba rhythms, Bossa Nova or more correctly "Brazilian Jazz", reached the United States c.1962. The subtle but hypnotic accoustic guitar rhyhms accent simple melodies sung in either (or both) Portuguese or English. Pioneered by Brazilians' Joao Gilberto and Antonio Carlos Jobim, this alternative to the 60's Hard Bop and Free Jazz styles, gained popular exposure by West Coast players like guitarist Charlie Byrd and saxophonist Stan Getz. Modal - As smaller ensemble soloists became increasingly hungry for new improvisational directives, some players sought to venture beyond Western adaptation of major and minor scales. Drawing from midieval church modes, which used altered intervals between common tones, players found new inspiration. Soloists could now free themselves from the restrictions of dominant keys and shift the tonal centers to form new harmonics within their playing. This became especially useful with pianists and guitarists, as well as trumpet and sax players. Pianist Bill Evans is noted for his modal approach.

Free Jazz – Sometimes referred to as "Avante Garde", true Free Jazz soloists shed even the ensemble arrangement structure, giving for a totally "free" impulse experience to the music. If Ornette Coleman was considered the prophet of Free Jazz, then John Coltrane would surely be it's leading disciple. This radical departure from past styles invited much debate about whether it would even qualify as music and soon found its place in the Jazz underground. Ironically, the much ignored Free Jazz continues to influence the mainstream today.

Soul Jazz – Derived from Hardbop, Soul Jazz is perhaps the most popular Jazz style of the 1960's. Improvising to chord progressions as with Bop, the soloist strives to create an exciting performance. The ensemble of musicians concentrates on a rhythmic groove centered around a strong but varied bassline. Horace Silver had a large influence of style by infusing funky and often gospel drawn piano vamps into his compositions. The Hammond organ also gained mass attention as the flagship instrument of Soul Jazz. Groove - An off-shoot of Soul Jazz, Groove draws its tones from the blues and focusses mainly on the rhythm. Sometimes referred to as "Funk" it concentrates on maintaining the continuous rhythm "hook' complimented lightly by instrumental and sometimes lyrical ornaments. Groove is full of joyous emotions inviting listeners to dance, whether in bluesy slow vamps or up-beat. Improvised solos are kept subordant to the beat and the collective sound.

Fusion – By the early 1970's, the term "Fusion" had come to identity a mixture of jazz improvisation with the energy and new rhythms of Rock music. To the dismay of many Jazz purists, some of Jazz most significant innovators crossed over from the contemporary Hardbop into Fusion. Eventually commercial influences suceeded in undermining its original innovations. While it is arguable that this fusion benifited the evolution of Rock, few of its influences remain in today's Jazz.

Post Bop – The terms modern mainstream or Post Bop are used for almost any style that cannot be closely associated with historical types of Jazz music. Starting in 1979, a new emergence of players hit the scene with a fresh approach to the Hard Bop of the 1960s, but rather than take it into the groove and funk rhythms that had evolved a generation before, these "young lions" added the textures and influences of the 1980s and 90s. Elements of Avant-Garde offer soloists new exploratory directions while polyrhythmic beats from Caribbean influences lend a wider diversity than previous Bop music.

Acid Jazz – The term Acid Jazz is loosely used to cover a wide range of music. Although it is not a true style of Jazz music that has evolved from traditionl stems, it is too significant to ignore as a member of the genre. Originating in the 1987 British dance scene, it defined a funky music style which incorporated sampled classic jazz tracks, 70s funk, hip-hop, soul and latin grooves, with the main focus on instrumental music and not the lyric. The resulting mosaic usually ignored improvisation giving argument to whether Acid Jazz is, in fact, Jazz. Smooth Jazz - Evolving from Fusion, but leaving behind the energetic solos and dynamic crescendos, Smooth Jazz emphasizes its polished side. Improvisation is also largely ignored giving argument whether the term "Jazz" can truly apply. High tech layering of synthesizers and rhythm tracks give it unobtrusive and slick packaging, where the ensemble sound matters more than the individual parts. This also seperates this style from other more "live" performances. Instruments include electric keyboards, alto or soprano sax, guitar, bass guitar and percussion. Smooth Jazz has perhaps become the most commercially viable form of all Jazz styles to date.