Known throughout his childhood as "Toots", Smith originally started as a drummer but was convinced by Ethel Waters that he was far better as a trumpet player.
It has been said that when he reached New York in 1920 he already had a fully formed style, which achieved "the vocalized sound, the blues spirit and the swing which makes for convincing jazz performance".
She stated that Smith was her preferred cornetist when recording, due to his reserved additions to her voice.
[4] Some of the other artists he worked with include Billy Paige, Noble Sissle, Eubie Blake, and Allie Ross.
When recalling his time with the Henderson orchestra, Armstrong insisted that he was forced to cover the high notes Smith could not hit.