Student Spotlight: Alan Villanueva

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?

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.

What's 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 Pérez, 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.

What's a project you've worked on since coming to Berklee that you've 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 Tío 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 (2023), and two additional Latin Grammy Awards.

How do you typically recharge or find new ideas outside of class?

Museums are always like bleach for the rust in my creative process—they help clean and refresh it. I love searching for inspiration in other art forms and their processes. Also, listening to a lot of music, especially new things from around the world that suddenly resonate with you and expand your taste. Going to concerts. Listening to what your peers are creating and talking with them about their artistic journeys. And of course, walking and being in nature.

When you think toward your own future, who inspires you most?

John Coltrane, Miguel Zenón, Immanuel Wilkins, Chavela Vargas, Rufino Tamayo, and Vicente Huidobro are, for me, like lighthouses on the horizon—at an immense distance, yet still bright enough to keep me from losing my own path.

What’s one piece of advice you’d give to your high school self?

Those were chaotic and really fun years. I wouldn’t change much because they helped me focus now without feeling like I’m missing out on something. But maybe I’d say: “Marry the metronome, study piano and percussion seriously, and maybe don’t go to Michoacán.”

6 Songs from Alan's Favorite Artists

We asked Alan to pick songs from some of his all-time favorite artists. Here's what he said:

1. "Dancing,"  Immanuel Wilkins

The colors, the intervallic phrases, and the language. The future, yet deeply rooted. You can hear the blues with all its inflections and phrasing mannerisms.

2. "El Gusto," Los Camperos de Valles

Ternary is home—the phrasing of the violin, the rhythmic counterpoint, and, bro, the verses, the verses.

3. "Myron's World," Mark Turner

The king—expanding the instrument in both range and language, turning the saxophone into a harmonic instrument through voice leading and the colors within the arpeggios. And the melody, man, it’s just beautiful.

4. "La Morena," Son de Madera

Afroméxico and the treasure of son jarocho—the percussion, the verses, the voices of maestros Ramón Gutiérrez and Tereso Vega . . . and when the jarana and requinto kick in, that’s it.

5. "The Sixteen Men of Tain," Allan Holdsworth

That’s how people play when they’re from around Saturn.

6. "Donut Shop," Morgan Guerin 

The EWI, the synths, and that blend of sounds—I’m a huge fan.