After studying classical clarinet at the CNR de Paris where he won a First Prize in 1993, Thomas Savy joined the “Jazz and improvised music” department of the CNSM de Paris in 1994, and worked under the supervision of François Jeanneau, Hervé Sellin, Jean-François Jenny-Clark, Daniel Humair and François Théberge before obtaining a first prize for improvisation in 1997.
At the same time as his studies, he assiduously played in jazz clubs, and quickly became a regular at Parisian big-bands. He also participates in the development of projects in the world of contemporary music (INA-GRM, Radio-France) and electro (Zend Avesta) in collaboration with Arnaud Rebotini (composition, direction, programming) and Vincent Artaud (composition, orchestration, electric bass, double bass, keyboards).
Poly-instrumentalist (saxes, clarinets), occasional electric bass player, it is generally as tenor saxophone that he appears in large groups. But it is to the bass clarinet, a singular instrument to which he dedicates exclusively his activities as leader and composer, that his personality is best expressed, nourished by the tradition of the saxophone and the big-band as well as the music of John Coltrane or Wayne Shorter who fascinated him from a young age. Beyond this deep attachment to the history of Jazz and its practice in its traditional forms, his "double culture" of performer experienced in contemporary music and improviser makes Thomas Savy a musician at ease in the most modern contexts.
Thomas Savy participates or participated in the activities, on stage and in the studio, of Nonet by Christophe Dal Sasso, Nine Spirit (Raphaël Imbert), sextet by Pierrick Pedron, group Artaud, Vintage Orchestra, Slow Band (François Théberge), the big band by François Laudet, the Institute of Advanced Harmony (Steve Potts), the group by David El Malek Music From the source, the byte by Fabien Mary, and the quintet by Amy Gamlen. He also participated in the recordings of Christian Escoudé, Patrick Artero, Rick Margitza, Julien Loureau ... establishing himself as a real reference on his instrument, combining the rigor of a classical concertist with qualities of improviser of jazz and contemporary music.