Boris Savoldelli was born on July 21, 1970, in Breno, a small town in the Val Camonica valley of Brescia province, Lombardy. He began performing in the late 1980s, moving from rock toward jazz singing and, per his own biography, receiving mentorship from American jazz vocalist Mark Murphy along the way. After more than a decade largely away from performing, he re-emerged in 2007 with an unaccompanied format built around a single instrument: his own voice, layered live through a hardware looper pedal into what he and his reviewers call a "voice orchestra."

That format produced his debut, Insanology, first released in Italy in 2007 on the independent label BFT Productions and reissued internationally in 2011 by the New York-based Moonjune Records - the deal that anchors the rest of his recorded career. Built from overdubbed vocal harmonies, human-beatbox percussion, African-influenced choral writing, and a looped reading of Jimi Hendrix's "Crosstown Traffic," the album carries two guest guitar credits from Marc Ribot, on "Mindjoke" and the title track.

Moonjune's next move paired him with one of downtown New York's defining guitarist-composers: Protoplasmic (2009), a duo of real-time instant compositions recorded with Elliott Sharp at Sharp's own Studio zOaR in September 2008, after Savoldelli handed Sharp a copy of Insanology following a Milan performance by Sharp's group Terraplane. Discogs tags the release "Jazz, Rock," with styles "Free Improvisation, Vocal, Noise, Experimental," and credits both musicians jointly as composers of "all instant compositions." Savoldelli and Sharp had already appeared together, alongside percussionist/composer Andrea Centazzo, on three tracks of Centazzo's 2009 double-disc anthology Guitars (Ictus Records) - a free-improvisation session set that also features Derek Bailey, Henry Kaiser, and Eugene Chadbourne on other tracks.

Biocosmopolitan (2011, Moonjune) pulled back toward what Savoldelli calls his catalog's "light side": sixteen concise, largely melodic tracks that draw guest credits from trumpeter Paolo Fresu (trumpet and flugelhorn on "Concrete Clima" and "Kerouac in New York City") and bassist Jimmy Haslip (bass guitar on the title track), alongside a second Hendrix arrangement. All About Jazz's review called it "bright, infectious and singable" against Protoplasmic's "brave dive into the experimental."

A working trio arrived with The Great Jazz Gig in the Sky (2016, Moonjune), billed as Savoldelli/Casarano/Bardoscia: a full, track-by-track vocal-and-acoustic-trio reworking of Pink Floyd's The Dark Side of the Moon, with saxophonist Raffaele Casarano and double bassist Marco Bardoscia, plus a guest guitar spot from Indonesian musician Dewa Budjana. All About Jazz's Roger Farbey reviewed the album on release, and its title track was later included on Moonjune's own 2017 two-disc label sampler The Invitation to MoonJune Records Vol. 01 and on the various-artists compilation It Must Be Jazz the same year.

His catalog since has continued to range widely: Nostalgia Progressiva (2018, Caligola Records), a trio billing with guitarist Maurizio Brunod and reedman Giorgio Li Calzi revisiting progressive-rock repertoire; Parallel Paths (2018, Zanetti Records), co-billed with vibraphonist Mike Mainieri under keyboardist Stefano Zeni's own name; and a 2023 co-producer credit on Roberto Fedriga's La Mia Malattia. His most recent leader release, Extrasensorial Songs (2025, Caligola), continues in the electronic/jazz-experimental vein Discogs tags across nearly his entire discography.

Savoldelli teaches as well as performs: he holds the chair of jazz singing at the Conservatorio "Luca Marenzio" in Brescia, after earlier teaching posts at the conservatories of Venice, Monopoli, and La Spezia, and has given masterclasses elsewhere, including at the Conservatorio "Umberto Giordano" in Rodi Garganico in 2024. His touring record extends well beyond Italy: more than 250 performances across over 120 cities in Russia alone since 2009, plus dates in Ukraine, China, Indonesia, Hong Kong, South Korea, Brazil, Spain, and the United States, including two appearances at The Stone in New York (2008 and 2012), the Jarasum Jazz Festival in South Korea, the Hong Kong International Jazz Festival, JakJazz in Jakarta, an artist residency at China's Beishan International World Music Festival (2015), and the Sarajevo Jazz Festival (2019). In 2015 he received the Sergey Esenin International Literary Award, in its "Sung Word" category, presented in Moscow.

Savoldelli's entire output runs through a single technical premise - a solo voice built into a full ensemble live, via looper - but the results split along a line he has described himself: a "light side" of melodic, accessible songwriting (Biocosmopolitan, Nostalgia Progressiva, the Pink Floyd reworking) and a "dark side" of free-improvised, textural extremity (Protoplasmic, the Guitars session with Elliott Sharp and Andrea Centazzo). Both sides are consistently tagged "Jazz" on Discogs - all ten of his own Main-role leader and co-leader releases carry that genre tag, an unusually clean pass for an artist working this far into avant-garde and free-improvisation territory - with recurring style tags of "Avant-garde Jazz," "Free Jazz," "Free Improvisation," and "Vocal." His own reference points draw on the vocal-jazz and vocalese tradition (mentorship under Mark Murphy, frequent press comparisons to Bobby McFerrin's overdubbed vocal style) as much as on the downtown New York free-improvisation scene his Moonjune labelmates and duo partner Elliott Sharp represent. That duality is the throughline of his critical reception: reviewers consistently frame each release relative to where it sits between those two poles rather than treating "jazz" and "experimental" as separate identities.