France's Renaud García-Fons is one of those rare musicians who seem to breathe life into the instrument they play, coaxing an amazing range of tones and timbres from his five-stringed standup bass. He's able to give it the voice of a cello, a viola, a violin, a Spanish guitar, or an Arabic oud. On occasion, he even strikes the body of the instrument for percussive effect, rapping out flamenco rhythms with his nails or pounding it with his fist.

García-Fons's performance is visceral, yet he doesn't consider himself to be a physical player, nor does he indulge in virtuosic displays. “My technique is based more on economy of movement, in order to have the greatest efficacy, and—if necessary—to be able to reach the greatest velocity,” he says, reached at his Paris apartment. “Speed is not a goal in itself. My aim has always been to develop the greatest degree of freedom attainable on this instrument.

“The physical aspect comes from my playing on all the sonic registers of the instrument, including high and piercing,” García-Fons continues. “I use some unusual techniques that I call pizzarco—hitting the strings with my bow [arco], which gives a percussive sound. I try to consider the bass as a ”˜universal' instrument. I'm seeking fluidity at all times, and in every sense.”

The 47-year-old performer shifts effortlessly between styles and genres. A classically trained player, he draws inspiration from jazz, rock, and world music of Latin and Mediterranean origin. He comes to MusicFest Vancouver with two separate but overlapping formations. On Thursday (August 6), his trio with acoustic guitarist Kiko Ruiz and percussionist Pascal Rollando plays flamenco-based original compositions from its award-winning 2006 album Arcoluz. On Friday (August 7), the same musicians, plus accordionist David Venitucci, will perform works from 2008's La Linea del Sur, which has a broader palette of inspiration.

“The musical intention of the new recording is to communicate with people through music from an imaginary South,” says García-Fons. “It includes elements of traditions such as flamenco and tango and is above all intended to let the listener travel. I love taking a journey with the audience—through expressions, feelings, things experienced, rather than geography.

“The oriental sages have long told us that music is a language of the soul,” he continues. “I love that idea. It takes us far from our daily lives to something much more intimate—though my compositions also have festive and highly rhythmic aspects. I like to think of music as a whole, as something that's not just emotional or intellectual or dance-oriented, but which finds a balance between them.”