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Iñaki Sandoval

As the saying goes, it’s always nice to have options. And Iñaki Sandoval had options aplenty when he was searching for places to continue his education after graduating from the prestigious Berklee College of Music in Boston at the turn of the century.

Already an accomplished jazz pianist with undergraduate degrees from Berklee (jazz) and Barcelona’s Liceu Conservatory (classical), Sandoval’s mailbox was overflowing with graduate school scholarship offers. Among the pursuers: ���ӽ紫ý.

On the surface, the odds of the ���ӽ紫ý Jazz Department reeling in Sandoval seemed about as long as the odds of the Rebel football program signing the nation’s premier quarterback recruit.

Ah, but the Jazz Department had a trump card to play, and his name was Stefan Karlsson. Besides being the head of the department, Karlsson was a Swedish pianist and a member of the Eddie Gomez Trio, a well-known jazz troupe that Sandoval revered.

Intrigued by the opportunity to learn under someone he greatly respected, Sandoval had multiple conversations with Karlsson. One of those conversations ended with Karlsson not only agreeing to Sandoval’s scholarship request, but tossing a cherry on top: a paid teaching assistant position.

The professor whom Sandoval would be assisting? Karlsson himself.

That sealed the deal, and Sandoval headed West for two years of study and on-the-job training — two years that Sandoval insists paved the way to a wide-ranging and highly successful career as an internationally acclaimed pianist, composer, music producer, and music educator.

“My time at ���ӽ紫ý was incredible,” says Sandoval, the 2025 College of Fine Arts Alumnus of the Year. “In addition to academic opportunities, I had the chance to perform at nearly all the major Las Vegas casinos, an experience that was as meaningful as my studies. Most importantly, I built lifelong friendships with peers and faculty members — friendships that I still cherish today.”

That includes his relationship with the mentor who brought him to Las Vegas.

Although Karlsson left ���ӽ紫ý in 2002 — the same year Sandoval earned his graduate degree in jazz studies and piano performance — the two have remained close. So close, in fact, that nine years after finishing his ���ӽ紫ý degree, Sandoval produced Karlsson’s solo piano record Smilin’ Eyes (Bebyne Records, 2011).

Over the past two decades, Sandoval has performed and recorded with internationally renowned artists such as Eddie Gomez, Billy Hart, Bob Mintzer, Carles Benavent, Horacio Fumero, Peer Wyboris, David Xirgu, Jordi Bonell, and Joan Alber Amargós, among others. Additionally, as founder of — a label he launched in 2009 — Sandoval has produced 30 albums, including nine under his own name.

As a composer, Sandoval has lent his talents to a variety of artists and projects. Most recently, he put together the original score for the Spanish feature film Zuloaga: Luz Dentro de la Sombra, which is expected to be released next year.

Not a bad résumé for someone who first started taking formal music lessons at age 8 but never officially set out to become an acclaimed artist.

“I don’t remember ever deciding to become a professional musician,” Sandoval says. “It’s just what I’ve always done. People say music chooses you, not the other way around, and I truly believe that.

“I also believe that music deeply impacts our communities, embodying values like diversity, respect, cooperation, and love.”

This explains why Sandoval’s passion for music extends beyond the performance stage and recording studio, and into the classroom. In fact, almost immediately upon finishing his studies at ���ӽ紫ý, he began paying it forward as an instructor and mentor of budding artists.

It started in 2003, when Sandoval assumed the role of founding director of the Jazz Department at the Liceu Conservatory, which is part of the Berklee International Network of Schools in Barcelona, Spain. He remained at the school until 2015, adding dean of Graduate Studies to his list of responsibilities for the final two years.

Sandoval then went on to direct the Viljandi Culture Academy, the college of arts at the University of Tartu in Estonia. Then it was off to the Hong Kong Academy for Performing Arts (HKAPA), where he has served as dean of music since 2022.

“Being in academia has helped me gain a deeper understanding of musical traditions and fundamentals, as well as research, history, and diverse approaches to artistic creation,” says Sandoval, who was also named an Aspen Institute Spain fellow in 2020 and is actively involved in their “Arts and Society” and leadership seminars. “Teaching is also a process of learning. I gain so much from my students — teaching and playing with them challenges and inspires me.

“That’s why in academia, I see myself as a facilitator. I aim to create an environment where students and faculty can develop their unique voices and artistic careers.”

Not surprisingly, it’s the exact same environment Sandoval encountered during his time as a ���ӽ紫ý graduate student.

“One of the most valuable aspects of the ���ӽ紫ý School of Music was the close, personal relationships between faculty and students,” he says. “Lessons felt like one part of the broader mentorship process, which extended to performing together on and off campus. 

“The university’s vibrant, diverse community and its large campus environment also enriched my experience in countless ways. Those formative years were pivotal in shaping me both as an artist and person. Which is why I will always look back on my time at ���ӽ紫ý with gratitude and fondness.”

At what age were you “bitten” by the music bug, and when did you realize you had an aptitude for piano?

I really enjoyed playing and singing with schoolmates in choir and orchestra — my music friends were usually more fun than others! At first, I didn’t take it too seriously. I suppose that changed when my parents sent both my brother and me to music school to provide us with some music education and appreciation.

It’s worth noting that my parents are not artists. I am the first and only artist in the family, so I especially value the fact that they wanted their children to have a proper, broad education.

Very early on, they bought a piano for me, not knowing if I would continue playing it when I grew older. The encouragement of my family and friends as I grew as an artist has been my most valuable treasure. Their unconditional support carried me through my studies and into my professional career.

What was it that first drew you to piano and maintained your early interest in the instrument?

I was fascinated by how the piano could sound like a whole orchestra, with melody, bass, and harmony, all in one. I loved figuring out songs from the radio by ear and playing them right away.

For me, the piano became an extension of my compositional thought process, allowing me to visualize music on the keyboard and see the big picture. I love its sound, its resonance, the dynamic contrasts, and tone.

Some people do yoga or meditate; I sit at the piano to connect with myself, with music, and with life. Music is my connection to existence and the world. 

Did you learn other instruments in your youth, and do you still play those?

I enjoy playing percussion and drums. Rhythm is the most important element of music. It’s physical. You can’t just think about it; you have to feel it and express it through movement, even at the piano.

I also play a bit of bass. Often, I think about music from the bass player’s point of view, where melody, harmony, and rhythm come together.

As a teenager, I also had a fascination with synthesizers. I would constantly read brochures and specs of the new models. (There was no YouTube back then!) Now, I endorse Roland Electronic Instruments and have the privilege of trying the latest synthesizers at home. I am also a Steinway & Sons artist. 

Both milestones were dreams come true, allowing me to perform with the best instruments available.

You believe strongly in the power of music and music education, especially at a young age. Can you elaborate on this philosophy?

When a child learns music, the first thing they’re asked to do is listen — to others and to themselves. They learn to interact respectfully, play as part of a group, balance volume, and prepare for rehearsals through daily practice. They develop self-awareness, persistence, and critical thinking.

These skills go far beyond music. In Japanese culture, the concept of Kaizen, continuous improvement, is something I hold close. I even wrote a song named “Kaizen” to keep that idea with me (���������é��, Bebyne Records, 2009).

These lessons help us become grounded individuals and better members of society.

At what point did you realize that you made the right call to pursue your master’s degree at ���ӽ紫ý?

Right away. After graduating from Berklee College of Music, I needed space to work on my own music and absorb everything I had learned. I wanted to develop my intuition as a composer and explore what would emerge from that.

���ӽ紫ý gave me that time to reflect, practice, write, and read. I enjoyed being part of a multidisciplinary college, surrounded by various disciplines and artists. That diversity has always inspired me. I love theatre, film, literature, and visual art, and I often draw inspiration for music from other art forms.

You had a chance to perform at several Las Vegas resorts during your time as a ���ӽ紫ý student. How meaningful were those opportunities?

Performing in casinos nearly every night for two years gave me such a solid foundation. I learned so much from working with professional musicians who also became mentors. Many of them remain friends 25 years later.

One particular memory that stands out: I was called to sub for a duo gig with Las Vegas jazz legend Rudy Aikels. We played every Friday and Saturday. Since I was still in school, Rudy pushed me, asking me to memorize 10 new songs each weekend and be ready to play one in any key, at any time.

During the gigs, he never asked me which ones I prepared to play; he knew them all. He would tell the audience that I knew the entire jazz repertoire and encourage them to request their favorites. That was the best motivation to memorize the Jazz Songbook.

Rudy was a brilliant mentor — not just musically, but also in how he engaged the audience. We played together for several months, and it became one of my most valuable learning experiences.

You have vast experience in musical arts as a performer, composer, producer, and educator. What was the motivation for such versatility?

I’ve always been curious, eager to try new things and learn from every experience.

Plus, I see music as one unified language, not divided by style or label. I’ve had the privilege of collaborating with artists from diverse musical backgrounds, including classical, jazz, salsa, flamenco, electronic, and fusion. This has helped me grow, deepen my understanding of music and the arts, and view music from new perspectives — always with humility and a desire to continue learning.

After all, everything I’ve achieved in life, I owe to music. 

What was one of your most memorable or impactful experiences as a music educator/administrator?

When I was at the Liceu Conservatory in Barcelona, we turned the cafeteria into a public performance space. Jazz students led weekly jam sessions, which gradually drew in classical musicians, flamenco artists, and more. 

Students began mixing naturally across styles and disciplines, improvising and collaborating. The faculty joined in, and soon we had a concert schedule involving all departments. This kind of open, creative space helped everyone grow artistically. 

Similarly, at the University of Tartu in Estonia, we launched the Entrepreneurship Studies Unit, which enabled students to create their own real companies and professional artistic projects while they were still at the university. This helped them become familiar with the real-world aspects of being an artist, such as contracts, management, and royalties. After graduation, they could take the company with them into the professional world.

Artistically, I am more focused these days on composing, writing, and producing, although I still enjoy playing concerts. I am currently composing music for a video game project in Hong Kong and writing new chamber and orchestral works. I balance this with my work as a dean at the HKAPA. I enjoy the synergy of the three A’s: artistic, administrative, and academic.

An artist who is interested in getting his graduate degree asks you why they should consider applying to the ���ӽ紫ý College of Fine Arts. What’s your response?

���ӽ紫ý offered me a deep understanding of tradition, and opened my eyes to the music and entertainment industry. Performing regularly in Las Vegas with a wide variety of bands allowed me to develop versatility and build a strong foundation.

Under the wonderful leadership of Dean Nancy Uscher, the College of Fine Arts offers a diverse and impressive roster of programs, featuring international and industry collaborations, as well as opportunities for interaction among the university’s various departments and disciplines.

Such immersive training helps you master your craft while preparing you to confidently navigate the dynamic landscape of today’s music and arts industries.

Las Vegas is unlike any other city; it is a place where artistry and opportunity meet. ���ӽ紫ý offers you that connection.