Student Spotlight: Alan Villanueva

Student Spotlight: Alan Villanueva The graduate student and saxophonist, who performed on Natalia Lafourcades Latin Grammy-nominated Live at Carnegie Hall album, talks about discovering his musical identity and celebrating his Mexican roots.

By

Editorial Staff

October 16, 2025

What's it like to study at Berklee? Our Student Spotlight series asks students all about their Berklee experience-what they're learning in class, what kinds of projects they're involved in onstage or behind the scenes, how they recharge, and of course, what they're listening to. In this edition, get to know Alan Villanueva, a saxophonist and EWI player from Oaxaca, Mexico, who is in the Master of Music in global jazz program.

Follow him on Instagram.

Tell us about your path to Berklee. What made you decide to come here?

Alan Villanueva

Image courtesy of Alan Villanueva

Like for many musicians, Berklee was always a reference point-a dream when it came to musical education. But I decided to work on my career first before studying abroad, trying to grow as much as I could back home instead of leaving the responsibility of my artistic growth to a place or a school. You know, avoiding that mindset of once I'm in NYC, I'll suddenly play in tune by divine grace or osmosis-instead of just doing long tones in the corner of the world where you happen to be born.

I think that, as with many of my peers who come from regions with fewer opportunities, resources, and information, that situation pushes you to become inventive, self-taught, and capable of making your plans work with whatever tools you have. So when opportunities finally come, you arrive hungry for knowledge, with some fundamentals already reviewed-and of course, many others still to be developed-but at least you know yourself and your process. That way, once you find proper guidance and mentorship, you can really direct your work effectively.

In Mexico, I got an undergraduate degree in jazz performance while gigging and figuring out what aspects of the professional musician's life resonated with me. I also did an undergraduate degree in philosophy while planning to apply for a master's. That helped me understand the direction I wanted to take.

I had the chance to apply to several programs, but I chose the Berklee Global Jazz Institute because it aligned the most with my search. It was the only program where I didn't feel I had to cut off a part of my identity as a musician to fit into a conventional jazz mold-whether traditional or modern. I grew up playing traditional Mexican music; that's my mother tongue. In many other schools, I felt like I had to hide my sarape and my boots just to audition.

Here, I've had the tools to integrate that essential part of my musical identity with the jazz tradition-approaching both with respect and dedication.- Alan Villanueva

Here, I've had the tools to integrate that essential part of my musical identity with the jazz tradition-approaching both with respect and dedication. My goal is not to be a jazz musician with an accent or something like that, but to make art, to build a sincere aesthetic statement from who I am: a Mexican musician playing an instrument whose heroes are the epitome of jazz-people I deeply admire and revere-yet also rooted in a culture I love equally. And I live in a time when technology allows us to expand our sonic palette-crazy instruments, synths, effect pedals that reshape what's possible with your horn. Berklee has an incredible department for exploring that, and it's been a mind-opening journey in terms of technology and creative possibilities.

Whats been your favorite class so far, and what has it taught you? I think the directed studies in the graduate program changed my life. Having the chance to spend hours with my heroes, playing with them, showing them my vulnerabilities and weaknesses so they can help me strengthen them with their experience-that's something I never imagined.

To share that time with teachers like Danilo P rez, Joe Lovano, John Patitucci, and George Garzone was surreal. But what impacted me the most was getting to know them a bit outside the classroom-talking over coffee, learning about their artistic process and formation, realizing that the musician is not separated from the person. You see which human qualities allowed them to grow into who they are.

They've completely mastered the craft of music, but they use it in service of something greater: creating art. You see how they paint with phrases, how they build entire landscapes out of sound. And at the same time, they are generous human beings, demanding yet open, sincere, and willing to share their time and tools beyond the classroom.

Whats a project youve worked on since coming to Berklee that youve been especially excited about? I'm currently working on a research and creative project that explores the historical and musical intersections between Mexican traditional music and jazz as a global phenomenon. Through original compositions and historical research, I reconnect with the Mexican diaspora and figures like Lorenzo T o Jr. and Florencio Ramos-early Mexican musicians who shaped the sound of New Orleans.

Tell us about your recent Latin Grammy nomination.I had the honor of participating as saxophonist/performer on the album: Natalia Lafourcade Live at Carnegie Hall, which has been nominated for Best Traditional Pop Album at the 2025 Latin Grammy Awards. The album features special guests like David Byrne, Omara Portuondo, and Jorge Drexler, celebrating Mexican music on one of the world's most iconic stages.

Through my work with Natalia Lafourcade, we have also received major international recognition, including the Grammy for Best Latin Rock or Alternative Album (2024), the Grammy Award for Best Regional Mexican Music Album (202

LINK:	https://www.berklee.edu/berklee-now/news/student-spotlight-alan-villan...
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