This is one of a kind and amazingly talented Italian singer. Even during studying he was way beyond traditional jazz paradigm: At the same time Elizabeth Sabin, his tutor, was also teaching basis of vocal technique a pop singer Michael Bolton and a rock star Axel Rose. Contrary to these odious figures in the end of his education Boris was learning music from a hundred percent jazz master, legendary American musician Marc Murphy. Even back then Boris always improved his technique and visited special work shops dedicated to Asian and African folk vocal traditions.

Savoldelli loves and can play live using a huge number of instruments for live sound adaption, but his work differs from a regular present day’s jazz entertainer. The artist divides his work to ‘light’ and ‘dark’ sides. The first one is a performance during which techniques and instruments make one voice sound like a well-balanced orchestra. The second one is a performance where the voice may be as sharp and avant-garde instrument as John Zorn’s saxophone, who, by the way, is Boris’ old friend and colleague. The interesting thing about his live performances is that they seldom demonstrate only one side of his creative mind. Usually he starts with a simple and clear music, easily takes listeners into depths of improvisations, and then, returns to an almost pop manner.

In 2007 Savoldelli released his solo album «Insanology». Amazing avant-garde guitarist Marc Ribo helped him only with a few tracks. Marc Murphy predicted a big success to this CD already on a stage of recording in a studio. He was so astonished by a demo track that he gave Boris one of his unpublished earlier compositions. A several competent print publications named «Insanology» one of the main events of the year. Meanwhile the press put Salvodelli, whose work was released the same year, on third place after Tony Bennett and Al Jarreau in a male singers rating.

Discography of Savoldelli includes compositions in different styles: from light close-to-jazz pop music to noise improvisations and jazz punk. But (and this is important) he didn’t become a music nonconformist and remained a welcome guest in any place: from traditional jazz festivals to radical avant-garde clubs.