Note/Disclaimer:

1. I highly recommend you get to know each mode/sound in it's entirety. Learn them in all 12 keys, in multiple positions. Learn the many ways you can voice each sound (triad, fourthy-voicing, seventh, extended, modal sound, etc.). Play with how those voicings fit in cadences (other related triads, etc), and also integrate the chord voicings with the lines. Over time you will have quicker and deeper access to the many (but FINITE) sounds available in tonal music.

2. These do not list inversions (unless used as modal voicings) or take into account open (spread-out more than an octave) voicings. Know that these are options, too.

3. If you are asking "Does this mean I can play ANY of these scales whenever 'that' chord shows up in a tune?!" The short answer is "You can play whatever you want!" BUT... the shorter, more correct answer, (probably) is "No."
I'd recommend you dig deeply into the context -- to find the sound the composer intended -- to be able to play the most-correct sound. Once you have access to that, then explore.

4. From Dan Haerle: "Really, it’s hard to tie the blues scale down to a couple of set patterns. They all come from chromatic embellishment of either a minor 7th chord or a major 6th chord. It seems that, in their attempts to codify our language, many musicians oversimplify what was happening melodically!"