He began performing in the late 1970s, but it wasn't until ten years later that his first recording came out on the Madagascan label Discomad. Along the way he invented numerous open tunings, astounding colleagues including the American guitarist Henry Kaiser, who has this to say about D'Gary:

"I truly doubted both my ears and eyes as these tunes were played inches in front of me. If you're a guitarist at home trying to figure out what's going on, all I can say is Good Luck."

D'Gary has created numerous tunings for the guitar. The source of his inspiration comes primarily from the music of the Bara peoples, reproducing the sound of the lokanga (traditional violin), the jejy lava (similar to Brazilian berimbau), and mpamalia (valiha, guitar, & vocal together) on his guitar. D'Gary also draws upon music associated with traditional Bara ceremonies, such as the avoria (a ceremony for a Bara funeral). D'Gary was first introduced to the avoria at the funeral of his father, when he was still only 16 years old. He continues to preserve these Bara musical traditions, resulting in an artist of extraordinary vision. His dexterity astounds and intrigues us with its complex tunings, and the intricately graceful cascade of arpeggios that spring forth from his guitar. But it is the combination of this dexterity with the expressiveness of his songs that in the end grabs hold of us viscerally; continuing to haunt the listener long after the last note has been played.

D'Gary's third recording, Akata Meso, (Label Bleu/Indigo), marked further exploration of saturated guitars inspired by tsapika (people's music, from the ghettos of Tulear), and where vocals are flung in the face of open space, and incredibly refined solos, of bluesy, even flamenco, notes slip in between the arpeggios on D'Gary's guitar. In addition to working with his trio, D'Gary tours as a soloist, giving free reign to his creative imagination and nimble finger-work as he continues to plumb the traditional music from his homeland.