Hiroshi Yamazaki began playing classical piano at the age of seven in Osaka, Japan. As a young adult, he attended the Osaka College of Music. It was there where Hiroshi was introduced to jazz, the style of music that would quickly become his passion. At age 22, Hiroshi gave his first professional jazz performance, leading a trio at the popular S.A.B. Hall in Osaka. Shortly after completing his collegiate studies in Japan, Hiroshi moved to New York City. There, he continued to grow as a musician and a performer. Study with jazz pianist Buddy Montgomery few years. New York allowed Hiroshi to forge his own voice not only as an improviser, but also as a composer and arranger. His New York City performance debut took place in 1988 at the Jazz Center of New York. Also featured at the same show were bassist Paul West and drummer Leroy Williams. Other memorable performances followed, with Hiroshi leading groups at some of the most popular jazz venues in New York City such as the Village Gate, the Blue Note, and Birdland. Hiroshi has shared the stage with several of New York's finest players. In 1996, Hiroshi's debut recording, Sketch of Bridge, was released with players Ron Carter on bass and Lewis Nash on drums. A second album, We May Say Love, followed in 2000. Currently, Hiroshi is touring in the New York region and in Japan with Rufas Reed, Akira Tana, Tony Jefferson, Steve LaSpina, Jimmy Hill, Andrew Beals. He leads his own jazz groups and also serves as a sideman with the Glenda Davenport Quartet. Carmen Leggio Quartet, Bill Crow Trio and the Jan Leder Quartet. Aside from performing, Hiroshi is a talented arranger and is always willing to work with new individuals. In 2001, Hiroshi joined the faculty at the Music Conservatory of Westchester. Hiroshi believes teaching is an extremely important responsibility. As a teacher, he strives to hand down the knowledge to his students that he has gained from his experiences of playing with so many great individuals. Hiroshi would be the first to claim that music theory is indeed important for understanding the complex nuances of jazz. Possessing a supreme love and ambition for the genre however, is what truly makes the difference between an average player and a great one.