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Our future

A tree is a living thing, born to protect and nourish every being. Let’s hold it’s real value high and respect nature instead of destroying it for gain.

HIGH-HIGH HIGH-HIGH HIGH-HIGH HIGH-HIGH HIGH-HIGH HIGHER HIGHER, HOLD ME HIGHER AND THINK OF WHAT YOU DO! TAKE CARE OF OUR FUTURE! ONCE SO TALL ONCE SO PROUD NOW SO BROKEN MY BODY WAS DRAGGED THROUGH THE MUD FOR WHAT? WHY DO THEY COME WHO WILL WATER THE SOIL? WHO WILL KEEP THE DESERT BACK? CHORUS HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGHER HIGHER, HOLD ME HIGH AND THINK OF WHAT YOU DO! TAKE CARE OF OUR FUTURE! CRY, WHO WILL CRY FOR ME? AS THEY HOLD MY BODY HIGH WITH THEIR HANDS FULL OF SOIL WHY ME? WHY NOW? WHY ON THIS EARTH? WHERE ARE MY BROTHERS WHERE ARE MY ROOTS

WHO WILL SAVE OUR NATURE? WHO WILL STAND UP TALL? CHORUS HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGH HIGHER HIGHER, HOLD ME HIGH AND THINK OF WHAT YOU DO! TAKE CARE OF OUR FUTURE! HIGH THEY HOLD ME HIGH HIGH THEY HOLD ME HIGH WHY NOW WHAT THE HELL FOR? TO MAKE A RICH MAN RICHER TO MAKE US ALL SO MUCH POORER LET ME FLY HIGH AWAY FROM THIS SAVAGE PLACE HIGH THEY HOLD ME HIGH FAR ABOVE THE FOREST GREEN HIGH THEY HOLD ME HIGH RED OUR DIGNITY LIKE BLOOD FLOWS STRIKES THE EARTH AND MELTS TO MUD HIGH-HIGH HIGH-HIGH HIGH-HIGH HIGH-HIGH HIGH-HIGH HOLD ME HIGH AND THINK ON WHAT YOU DO! LET’S TAKE CARE OF OUR FUTURE!


DRUMS: HARVEY WIRHT / BASS: MICHAEL OLATUJA VOCAL IMPROVISATION (ANTSA): BABATA / GUITAR:TETA, BIVY, JOHNNY BASS ACCORDION: REGIS GIZAVO / MAROVANY: DANIEL RAMAROSON PERCUSSIONS: SAMUEL TORRES, PETIT, JOHNNY BASS


NOTRE FUTUR

En haut, plus haut, portez moi encore plus haut et pensez bien à ce que vous faites. Prenez soin de notre futur!

Il etait une fois j’etais grand J’etais fier Maintenant je suis las Mon corps traîne dans la boue Pourquoi? Pourquoi sontils venus? Qui gardera le sol humide? Qui repoussera la désertification? En haut, plus haut, portez moi encore plus haut et pensez bien à ce que vous faites† Prenez soin de notre futur! Pleurez, qui pleurera pour moi? Pendant qu’ils portent mon corps si haut Avec leurs mains pleines de terre Pourquoi moi ? Pourquoi maintenant? Pourquoi sur cette planète? Où sont mes frères? Où sont mes racines? Qui sauvera notre environnement ? Qui se tiendra droit debout? En haut, plus haut, portez moi encore plus haut et pensez bien à ce que vous faites† Prenez soin de notre futur! En hauteur, ils me portent plus haut En hauteur, ils me portent plus haut Pourquoi maintenant, pourquoi donc? Pour rendre un homme riche, plus riche? Pour nous rendre de plus en plus pauvre Laissezmoi m’envoler loin de cet endroit sauvage En hauteur, ils me portent plus haut Bien audessus de cette verte forêt En hauteur, ils me portent plus haut Notre dignité coule comme du sang rouge Qui gicle sur le sol et se fond dans la boue En haut plus haut, portezmoi encore plus haut et pensez bien à ce que vous faites Prenez soin de notre futur!


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my child

Madagascar has forgotten its children. They are the path to our hearts and the guides to our future, we would all be lost without them.

CHILD OH MY CHILD HOW WILL YOU MANAGE HOW WILL ALL THE CHILDREN MANAGE I AM HERE WAITING FOR YOU AS PROMISED FOR YOUR 20TH BIRTHDAY YOU ARE THE SUNSHINE OF MY DAYS YOU WARM THE COCKLES OF MY HEART LIKE THE OLD DAYS WITH ONE LOOK WE UNDERSTAND EACH OTHER YOU ARE THE SUNSHINE OF MY DAYS YOU WARM THE COCKLES OF MY HEART CHILD OH MY CHILD HOW WILL YOU MANAGE HOW WILL ALL THE CHILDREN MANAGE I WANT TO GIVE YOU MY HAND AND HELP YOU WHEN YOU SORROW HOW WILL WE GET THERE CHILD I’VE BEEN HOLDING YOU IN MY ARMS FOR SO LONG WHERE ARE YOU NOW YOU ARE THE SUNSHINE OF MY DAYS YOU WARM THE COCKLES OF MY HEART

CHILD OH MY CHILD HOW WILL YOU MANAGE HOW WILL ALL THE CHILDREN MANAGE I WANT TO GIVE YOU MY HAND AND HELP YOU WHEN YOU SORROW HOW WILL WE GET THERE CHILD IF ONLY THE WORLD COULD SAY IN UNISON OUR CHILDREN ARE OUR HAPPINESS BUT THE WHOLE WORLD SEEMS TO HAVE FORGOTTEN THEM THAT’S WHY THEY’RE ALL SO FRIGHTENED CHILD OH MY CHILD HOW WILL YOU EVER MANAGE


DRUMS: DO / BASS: JOHNNY BASS GUITAR: TETA, PASCAL, BIVY / VALIHA: RAJERY MAROVANY: DANIEL RAMAROSON PERCUSSIONS: PETIT / SAMUEL TORRES


MON ENFANT

enfant o mon enfant comment vas tu t’en sortir comment vous en sortirezvous tous? je suis là et je t’attends comme promis pour tes vingt ans tu es le soleil de mes jours tu me touches au plus profond de mon coeur comme auparavant d’un regard on se comprend tu es le soleil de mes jours tu me touches au plus profond de mon coeur enfant o mon enfant comment vas tu t’en sortir? comment vous en sortirezvous tous? je veux te tendre la main et t’aider dans tes chagrins comment y arriveronsnous mon enfant? je te tiens dans mes bras depuis si longtemps où estu maintenant? tu es le soleil de mes jours tu me touches au plus profond de mon coeur enfant o mon enfant comment vas tu t’en sortir? comment vous en sortirezvous tous? je veux te tendre la main et t’aider dans tes chagrins comment y arriveronsnous mon enfant? Si seulement le monde entier pouvait se dire que les enfants sont notre bonheur mais le monde entier semble les avoir oublié c’est pour cela qu’ils ont peur enfant o mon enfant comment vas tu t’en sortir


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how will we survive

My grand mother had one place to hide us from the cyclone, under her iron bed. We all held onto it for dear life fearing that the entire house would fly away.

SOON THE SUN WILL SHINE AGAIN WILL BE A TRAMPOLINE TO OUR DREAMS SOARING ABOVE THIS IRON BED FAR ABOVE THESE TWISTED TREES HIGHER THAN THESE THUNDER CLOUDS HOW CAN WE BE HEARD HOW CAN OUR TEARS TURN INTO AN OCEAN OF PROGRESS? THEN INTO FOUNTAINS OF JOY? HOW CAN WE DIVE INTO TOMORROW AND WASH THE CLOUDED FEARS AWAY DREAMS HIGH ABOVE THIS IRON BED FAR ABOVE THESE TWISTED TREES HIGHER THAN THESE CLOUDS OF DARKNESS HOW WILL WE EVER GET OUT OF THIS? WHERE ARE OUR SAVIORS? WHEN WILL THEY COME? HOW CAN WE MANAGE TO CALM DOWN CHILDREN, LET’S FIGURE IT OUT HOW WE CAN MANAGE TOGETHER HOW WILL WE EVER GET OUT OF THIS? WHERE ARE OUR SAVIORS? WHEN WILL THEY COME? HOW CAN WE SOLVE IT TOGETHER DON’T BE SCARED

LET’S FIGURE IT OUT HOLD ON TIGHT TO EACH OTHER UNTIL DAWN MAKE IT THROUGH THIS DARK STORMY NIGHT WILL WE EVER GET OUT OF THIS? LET’S FIGURE IT OUT TOGETHER MY PEOPLE ARE SUFFERING UNDER THEIR BEDS HOW WILL WE MANAGE BRING US TRUE HELP AND SAFE WARM SHELTER IT HURTS TO SEE THIS BAD WEATHER MY HEART IS TRAUMATIZED BY FEAR HOW CAN WE GET OUT OF IT DON’T CRY WHAT WILL WE DO CALM DOWN CHILDREN I’M HERE FOR YOU I WAS TRAUMATIZED BY FEAR I’M HERE NOW KEEP YOUR EYES CLOSED THE CYCLONE IS PASSING THE CYCLONE HAS PASSED I‘M HERE NOW.


DRUMS: DO / BASS: JOHNNY BASS / GUITAR: BIVY,CHARLES KELY,TETA ELECTRIC GUITAR: JEROME MITCHELL MAROVANY: DANIEL RAMAROSON VALIHA: RAJERY PERCUSSIONS: PETIT, SAMUEL TORRES VOCAL EFFECTS: BIVY


COMMENT SURVIVRONS NOUS

Le soleil brillera très bientôt Et servira de tremplin à nos rêves Planant au-dessus de ce lit en fer Bien au-delà de ces arbres tortueux Dépassant ces nuages orageux chargés de frayeur Comment se faire entendre? Comment faire de nos larmes un océan de progrés Qui ensuite se changerait en fontaines de joie Comment se plonger dans demain ? Comment repousser ces nuages menaçant? Les rêves planant au-dessus de ce lit en fer Bien au-delà de ces arbres tortueux Dépassant ces nuages orageux chargés de frayeur Comment nous en sortirons-nous? Où sont nos sauveurs? Quand viendront-ils? Comment nous en sortirons-nous? Où sont nos sauveurs Quand viendront-ils? Comment trouver des solutions ensemble? Calmez-vous les enfants, n’ayez pas peur. Serrons-nous jusqu’au lever du jour Tenons le coup au travers de cette nuit orageuse Comment nous en sortirons-nous? Comment nous en sortirons-nous? Mon peuple souffre recroquevillé sous leur lit Apportez-nous du réconfort, apportez nous un abri chaud Cela me fait mal de voir ce mauvais temps La peur traumatise mon coeur Comment va t-on s’en sortir? Les enfants calmez-vous Ne pleurez pas Les enfants je suis là pour vous protéger Le cyclone est enfin passé Je suis là maintenant


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chasing our tails

Our leaders seem lost and out of touch. They cannot choose which direction to go. One day left the next day it’s right. Where are they leading us to?

WE OFTEN COMPLAIN THAT EVERYTHING TURNS TO RUST BUT WE ARE THE ONES RESPONSIBLE, YES I KNOW IT’S NOT EASY ON THIS EARTH BUT SOMETIMES THE HARD DECISIONS HAVE TO BE MADE WE ARE TOLD YES WE ARE TOLD NO WE DON’T KNOW WHERE TO GO AND WE GO FORWARD AND WE GO BACKWARDS WHO DO WE LISTEN TO NOW TWO STEPS ON THE LEFT TWO STEPS ON THE RIGHT BUT WHERE TO REST OUR WEIGHT ONE DAY IT’S WHITE THE NEXT DAY BLACK THEY SHOULD BE MORE SPECIFIC WE HOPE THAT ALL OF THIS WILL PASS, YET YEARS GO BY AND WE STILL SING THE SAME SONG WE ARE TOLD YES WE ARE TOLD NO WE DON’T KNOW WHERE TO GO AND WE GO FORWARD AND WE GO BACKWARDS WHO DO WE LISTEN TO NOW TWO STEPS ON THE LEFT TWO STEPS ON THE RIGHT BUT WHERE TO REST OUR WEIGHT ONE DAY IT’S WHITE

THE NEXT DAY BLACK THEY SHOULD BE MORE SPECIFIC WHILE WE WAIT FOR DECISIONS TO BE MADE EVERYTHING FALLS BACK IN THE SAME RHYTHM ONLY WITH GREATER SUFFERING THE MISERY OF THE PEOPLE, IT HURTS JUST TO THINK ABOUT IT WE ARE TOLD YES WE ARE TOLD NO WE DON’T KNOW WHERE TO GO AND WE GO FORWARD AND WE GO BACKWARDS WHO DO WE LISTEN TO NOW TWO STEPS ON THE LEFT TWO STEPS ON THE RIGHT BUT WHERE TO REST OUR WEIGHT ONE DAY IT’S WHITE THE NEXT DAY BLACK THEY SHOULD BE MORE SPECIFIC HOW ARE WE SUPPOSED TO EVER GET ANYWHERE WHEN WE STILL DON’T KNOW HOW TO SHARE AMONGST OURSELVES? HOW DO YOU EXPECT US TO ACHIEVE ANYTHING WHEN NOBODY’S THERE TO POINT US IN THE RIGHT DIRECTION AND WE CAN NO LONGER DISTINGUISH BITTER FROM SWEET. LET’S CHOOSE, ONCE AND FOR ALL.


DRUMS: R. JIMMY MARIUS / BASS: JOHNNY BASS / GUITAR: TETA ACCORDION: REGIS GIZANO / MAROVANY: DANIEL RAMAROSON FLUTE: ROBERT AARON / PERCUSSIONS: PETIT


SUR QUEL PIED DANSER

on se plaint souvent que tout tombe en ruine mais nous sommes les seuls responsables, oui je sais ce n’est pas facile sur cette terre il nous faut parfois prendre de vraies décisions on nous dit oui on nous dit non on ne sait pas où aller et on avance et on recule on ne sait plus qui écouter deux pas à gauche deux pas à droite mais sur quel pied danser un jour c’est blanc un jour c’est noir il faudrait préciser on espère tous que cela va passer un jour mais les années se suivent et rien ne change on nous dit oui on nous dit non on ne sait pas où aller et on avance et on recule on ne sait plus qui écouter deux pas à gauche deux pas à droite mais sur quel pied danser un jour c’est blanc un jour c’est noir il faudrait préciser en attendant que les décisions soient prises tout retombe à la même cadence avec une plus grande souffrance et de la misère pour tout un peuple, ça me fait mal d’y penser on nous dit oui on nous dit non on ne sait pas où aller et on avance et on recule on ne sait plus qui écouter deux pas à gauche deux pas à droite mais sur quel pied danser un jour c’est blanc un jour c’est noir il faudrait nous préciser comment voulez-vous qu’on arrive à quoique ce soit ? lorsque entre nous, on n’arrive toujours pas à partager mais comment, comment voulez-vous que nous arrivions à quelque chose Alors que nous n’avons personne pour nous diriger dans le bon chemin Et qu’on ne sait plus distinguer entre l’amer et le sucré pour une fois, choisissons


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time and space

There is a duality of beauty and sadness in the natural world.

NOTHING WILL LAST FOREVER NOTHING HOLDS US TOGETHER ONLY DREAMS MAKE IT BETTER BELIEF THAT THERE IS A SAVIOR IN TIME AND SPACE WE FLOAT IN GRACE THE AIR SO LIGHT BENEATH SKIES OF SOUL FOR ALL WE KNOW THIS TIME WON’T LAST, I KNOW IT RUNS SO FAST BY YOUR SIDE I CAN ENJOY THE RIDE LISTEN TO THE WAVES ON THE SHORE BREATHING IN PEACE SEE THE LIGHT AND FEAR NO MORE THIS TIME WON’T LAST , I KNOW WHEN THE WIND BLOWS IN MY HAIR WHEN THE TIDE WHISPERS SORROW THERE’S NO PAST NO TOMORROW EVERYTHING’S UP IN THE AIR IN TIME AND SPACE WE FLOAT IN GRACE IT FEELS SO RIGHT BENEATH SKIES OF SOUL FOR ALL WE KNOW

THIS TIME WON’T LAST, I KNOW IT RUNS SO FAST LIKE WARM SUNSHINE ON MY FACE YOU GIVE MY LIFE A PURPOSE WE ARE BOUND HOME THE SOUNDS GETTING CLOSER IN TIME AND SPACE IT’S OUT OF PLACE WHERE HAVE YOU GONE MEMORIES LOST IN THE STREAM FOR ALL WE KNOW WE’LL MEET AGAIN THIS TIME WON’T LAST, FOR SURE WE KNOW.


DRUMS: HARVEY WIRHT / BASS: MICHAEL OLATUJA / GUITAR: CHARLES KELY ACCORDION: REGIS GIZAVO / PERCUSSIONS: SAMUEL TORRES


L’ESPACE D’UN MOMENT

Rien ne durera toujours Tout est passager Rien ne nous tient liés Seuls les rêves entourent La réalité d’une certaine beauté Et la croyance qu’il existe bien un sauveur L’espace d’un moment Je flotte avec grâce L’air si léger Sous les cieux de mon âme On est sûr d’une chose Tout passe si vite Que ce moment ne durera pas, je le sais A tes côtés J’apprécie le voyage A l’écoute des vagues sur la plage Je respire en paix Je vois la lumière, il n’y a plus rien à craindre Ce moment ne durera pas, je le sais Quand le vent souffle dans mes cheveux Quand la marée chuchote plaintivement Il n’y a plus de passé, il n’y a plus de futur On est soudain si vulnérable L’espace d’un moment Je flotte avec grâce L’air si léger Sous les cieux de mon âme On est sûr d’une chose Tout passe si vite Ce moment ne durera pas, je le sais Comme un doux soleil sur mon visage Tu donnes un sens à ma vie A la maison nous nous rencontrons Ces sons ne cessent de nous rapprocher L’espace d’un moment Plus rien n’a sa place Où es-tu passé ? Des souvenirs perdus dans le temps Une chose est sûre Nous nous reverrons encore Ce moment ne durera pas, et nous le savons tous.


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forests

We all share in the bounty that nature provides. We only have one planet, so let’s treat it right.

WE CUT DOWN ALL THE TREES THE EARTH IS DRY, THERE’S NOTHING LEFT BUT SALT IT’S THE PEOPLE WHO WILL SUFFER WHAT WILL BECOME OF THIS EARTH THERE IS NO FOOD LEFT TO HARVEST LET’S TAKE CARE OF OUR FORESTS AND OUR ENVIRONMENT WE’VE ALREADY BEEN TOLD NOT TO CUT DOWN TREES ANYMORE THAT WE WILL DROWN IN THE BUSH FIRES THEY WILL BRING DESERTIFICATION, FAMINE AND DEATH WE HAVE TO FOLLOW THE RULES WE HAVE TO BE CAREFUL AND PAY ATTENTION THEY TELL US WHAT NOT TO DO INSTEAD OF GUIDING US TOWARDS WHAT NEEDS TO BE DONE. TELL US WHAT TO DO, WE ARE SUFFERING, WE ARE STARVING. SAVE OUR LIVES, OUR COUNTRY AND OUR FORESTS SUCH SADNESS AND WHAT CAN WE DO? HELP OUR PLANET SURVIVE.


FEATURED VOCAL: THEO MIKEA / BASS:MICHAEL OLATUJA / GUITAR: BIVY ACCORDION: REGIS GIZAVO / MAROVANY: DANIEL RAMAROSON LUKANGA: SURGI VILONANDROY / PERCUSSIONS: PETIT, SAMUEL TORRES


PRESERVONS NOS FORETS

Nous avons abattu tous les arbres La terre est sèche, il ne reste plus que le sel Ce sont les hommes qui vont souffrir Je ne sais pas ce que va devenir cette terre Nous ne produisons plus suffisament de récoltes Prenons soin de nos forêts et de notre environnement Les authorités ont deja annoncé qu’il ne fallait plus abattre d’arbres Que les feux de brousse vont nous nuir Que la culture sur brûlis entraîne la sécheresse et la famine. Il faut suivre ce qu’on nous dit de ne pas faire Il faut être attentif Mais on ne nous dit jamais ce qu’il faut faire Ditesnous ce que nous devrions faire, nous souffrons, nous sommes affamés. Préservez nos vies Notre pays et nos fôrets Quelle misère Que peuton faire? Aidez notre terre


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tomorrow

We are always being promised that tomorrow is the time when everything will improve. But it seems like tomorrow will never come. We want it today.

DON’T WAIT FOR TOMORROW LET’S ACT TODAY FOR OUR HAPPINESS AT SUNRISE SPARKS ARE BORN THAT WILL MAKE TOMORROW SAY MY COUNTRY IS PROUD THIS MORNING IN THE MEANTIME I KEEP LOOKING AROUND REALIZING THINGS HAVEN’T CHANGED. TOMORROW THEY SAID TOMORROW TODAY TOMORROW ANOTHER LIFE TOMORROW TODAY ALL THE HOPE IN OUR HEARTS THE SPIRIT AND THE PASSION THE DREAMS AND THE ENTHUSIASM BROKEN ILLUSIONS OUR LEADERS DO NOT SUFFER ANY OF OUR WOUNDS THE DAILY LIES NO LONGER EASE THE PAIN (CHORUS) TOMORROW ANOTHER LIFE TOMORROW

I WANT TO ERASE THE STAINS OF BLOOD RAISE HOPE FOR THE INNOCENTS SENTON’ NY FAHATONIANA A BREATH FOR TOMORROW SENTON’ NY AMPITSO JUST A LITTLE WHISPER SENTON’NY FAHATONIANA A BREATH FOR TOMORROW SENTON’ NY AMPITSO HE E HE E E HE E E WE ALL HAVE AN OPPORTUNITY TO RISE TO BRIGHTEN OUR FUTURE TO NOT LET OTHERS DECIDE IT’S TIME TO START THE FIGHT (CHORUS) THEY TOLD US TOMORROW THEY TOLD US TOMORROW A FREE COUNTRY SINGING AND DANCING TO THE SOUND OF CHILDREN’S LAUGHTERS HE YE YE YE SENTON’NY FAHATONIANA TOMORROW ANOTHER LIFE TOMORROW TODAY THEY TOLD US TOMORROW THEY TOLD US TOMORROW A FREE COUNTRY SINGING AND DANCING TO CHILDREN’S LAUGHTER TODAY HE YE YE YE SENTON’NY FAHATONIANA


DRUMS: DO / GUITAR: CHARLES KELY / BASS: JOHNNY BASS MAROVANY: DANIEL RAMAROSON / PERCUSSIONS: PETIT, SAMUEL TORRES VALIHA: RAJERY / PERCUSSIONS: PETIT, SAMUEL TORRES / VOCAL EFFECTS: BIVY


DEMAIN

n’attend pas toujours demain l’espoir d’une sérénité Au lever du soleil Renaissent les étincelles Qui feront dire à demain Mon pays est fier ce matin En attendant je regarde bien tout autour de moi m’apercevant qu’au fond les choses ne changent pas. Demain Ils nous ont dit Demain Je n’y crois plus Demain Une autre vie Demain Aujourd’hui Tout L’espoir dans nos Coeurs La fougue et la passion Des rêves, des ardeurs Brisés par des illusions Nos dirigeants n’endurent rien De nos blessures Les mensonges au quotidien N’attisent plus rien Demain Ils nous ont dit Demain Je n’y crois plus Demain Une autre vie Demain Je veux effacer les traces de sang Donner de l’espoir aux innocents Un espoir de sérénité Un souffle pour demain Le souffle du lendemain Un petit air de rien Une sérénité Un souffle pour demain Le souffle du lendemain he e he e e he e e On a tous une chance à saisir Pour faire briller notre avenir Ne laissons pas les autres agir C’est l’heure de repartir Demain Ils nous ont dit Demain Je n’y crois plus Demain Une autre vie Demain Aujourd’hui Ils nous ont dit demain Ils nous ont dit demain Un pays libre et chantant, dansant sur les rires d’enfants He ye ye he he Un espoir de sérénité


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butterfly

My stepfather was a passionate butterfly collector. Sadly he passed away on September 14th 2011. This is a celebration of his life and the fond memories we shared, chasing butterflies together through the forests of Gabon, West Africa.

BETWEEN THE PROSES OF VERLAINE AND THE POEMS OF RIMBAULT OUR LIVES CROSSED PATHS WHEN ONE SILENT MORNING YOU MADE THAT DECISION THAT I WAS FORCED TO FACE HOW CAN I TELL YOU NOW? THAT I MISS YOU THAT I WILL KEEP YOU CLOSE I’M NOT SURE I’LL EVER FORGIVE YOU DESPITE ALL THIS YOU WILL ALWAYS BE PART OF ME THE MAGNOLIA IS BLOOMING SPRING IS HUMMING A MELODY A TUNE THAT GIVES ME EVEN MORE DESIRE TO LIVE HEY HEY MEMORIES EMBRACE US HAPPINESS HOLDS US THERE SHADES OF A PREMONITION I COULD NEVER FORESEE WE NEVER MADE PROMISES TO EACH OTHER WE GAVE EACH OTHER EVERYTHING A SPECIAL TRUST

THOUGH SEPARATED BY OCEANS WE RICOCHETED OFF EACH OTHER’S DREAMS THE MAGNOLIA IS BLOOMING SPRING IS HUMMING A MELODY A SONG THAT GIVES SO MUCH TO ME NEW WINGS TO FLY BUTTERFLIES, BUTTERFLIES, BUTTERFLIES AND ALL THOSE BUTTERFLIES I FOLLOWED YOU EVERY WEDNESDAY TO CHASE ALL THE BUTTERFLIES EACH TIME I SEE THEM, I THINK OF HIM AND ALL THESES BUTTERFLIES FOR SURE HE PASSED, PASSED BY HERE WITH ALL HIS BUTTERFLIES, HIS BUTTERFLIES AND I SCREAMED, AND I SANG WE WERE READY TO FLY AWAY WHAT A TIME WE HAD EACH TIME I SEE THEM, I THINK OF HIM AND ALL THOSE BUTTERFLIES AND ALL THESE BUTTERFLIES FOR SURE HE PASSED BY HERE WITH ALL HIS BUTTERFLIES, WITH HIS BUTTERFLIES AND I SCREAMED, AND I SANG WE WERE READY TO FLY AWAY WHAT A TIME WE HAD


DRUMS: HARVEY WIRHT / GUITAR: TETA, CHARLES KELY BASS: DAVID RAJAONARY / ACCORDEON: REGIS GIZAVO VIOLIN AND VIOLA: FRANCOIS MICHAUD / PERCUSSIONS: PETIT, SAMUEL TORRES


PAPILLON

Entre les proses de Verlaine Et les poêmes de Rimbault Nos vies se sont croisées Quand un matin de silence Tu as décidé De faire face Comment pourrais-je autrement te dire que tu vas me manquer Je garde ta place Je ne sais pas si un jour je te le pardonnerai Je suivrai ta trace. Et le magnolia bourgeonne Et le printemps fredonne Un air qui me donne Une telle envie de vivre Hey hey les souvenirs s’enlacent C’est le bonheur qui passe Des couleurs, des menaces Que je n’ai pu saisir On ne s’était rien promis On s’était tout donné Une confiance Séparés par des océans Nos rêvent ricochaient A la même cadence Et le magnolia bourgeonne Et le printemps fredonne Un air qui me donne Des ailes pour m’envoler BREAK papillons papillons papillons papillons papillons Et tous ces papillons Et tous ces papillons Et pour ces papillons je t’ai suivi tous les mercredis Et tous ces papillons Et tous ces papillons Et pour ces papillons on traversait tous les paradis Et tous ces papillons et tous ces papillons et tous ces papillons Chaque fois que je les vois, je pense à lui Et à tous ces papillons à tous ces papillons Break fun….. Et tous ces papillons et tous ces papillons Et pour ces papillons et tous ces papillons Il est sûrement passé, par ici avec tous ces papillons avec ces papillons Et je criais! Et je chantais! Prêt à nous envoler, on a bien rigolé!


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the way

It’s time to find our own path, for the sake of our country and our families. Deep down the way is inside each one of us.

AHIA NAREO HAVAKO ABY AHIA NAREO HAVAKO ABY VOLAGNO AMIN’AZY AO MAZAVA GNY LALAGNA NY LALAGNA HOMBANAO MIOVA FISAIGNA MANOMBOKA NY AMIN’IZAO MIOVA FIJERY NAMA YOU KNOW THE WAY. YOU KNOW MY HEART THIS IS THE TIME THE TIME TO START. LET’S CHANGE OUR WAY. LET’S CHANGE OUR MIND. THERE IS A WAY. AMIN’IZAO, OVAY NY FISAIGNANAO DINIHO GNY HO AVY E IZAY METY MBA HAHASOA MATOKIA AZA KIVY, ATAOVY IZAY AO AMPONAO AGNATINAO AO HENOY GNY FONAO AGNILANAO AO YOUR MIND IS CLOSED YOUR HEART CONFUSED. A FACE OF SORROW. A LIFE ABUSED THINK OF TOMORROW LET’S LIVE TODAY. CAUSE THERE IS A WAY. ONCE IN OUR PAST. WE LAID DOWN TRACKS. WE KNEW THE WAY.

BUT WE STRAYED AWAY. TIME TO REACT. TIME TO ATTRACT. LOST LIKE A STRAY I FOUND THE WAY. ONE DAY WE’LL SAY THAT WE SAW THE WAY. WE MADE THE WAY. CAUSE THERE IS A WAY. VOLAGNO AMY NAZY AO YOU KNOW THE WAY. DEEP INSIDE YOU. JUST FIND YOUR WAY. ONCE IN OUR PAST. WE LAID DOWN TRACKS. WE KNEW THE WAY. BUT WE STRAYED AWAY. TIME TO REACT. TIME TO ATTRACT. LOST LIKE A STRAY I FOUND THE WAY. ONE DAY WE’LL SAY THAT WE SAW THE WAY. WE MADE THE WAY. CAUSE THERE IS A WAY. EH DADY, IO GNY LALAGNA EH MAMA, IO GNY LALAGNA FIAIGNANTSIKA JIABY, IO GNY LALAGNA AGNATY FONAO AO, IO GNY LALAGNA EH DADY, IO GNY LALAGNA EH MAMA, IO GNY LALAGNA FIAIGNANTSIKA JIABY, IO GNY LALAGNA AGNATY FONAO AO, IO GNY LALAGNA


DRUMS: HARVEY WIRHT / BASS: MICHAEL OLATUJA / GUITAR: D-GARY ACCORDION: REGIS GIZAVO/LUKANGA: SURGI VILONANDROY PERCUSSIONS: PETIT / SAMUEL TORRES / PERCUSSIVE VOCALS: DAVID RAJAONARY


LE CHEMIN A SUIVRE

Tu sais quel chemin suivre Tu sais quel chemin suivre Au fond de toi tu sais quel chemin suivre Tu sais ce que je ressens En ce moment précis C’est le moment de commencer A changer nos façons d’agir Changer notre façon de penser Il y a un moyen de le faire Ton esprit est fermé Ton coeur confus Une vie qui ne mène à rien Pense à demain Vivons aujourd’hui Parce qu’il y a un moyen de le faire Il fut un temps par le passé Où on avait des guides On connaissait le chemin à suivre Mais nous nous sommes égarés Il est temps de réagir Il est temps de s’y mettre J’étais perdu J’ai retrouvé mon chemin Un jour on se dira qu’on a vu le chemin on a suivi ce chemin Parce qu’il y a un chemin Tu connais le chemin Cherche bien au fond de toi Trouve simplement ton propre chemin Il fut un temps dans le passé Où on avait des guides On connaissait le chemin à suivre Mais nous nous sommes égarés Il est temps de réagir Il est temps de s’y mettre J’étais perdu J’ai retrouvé mon chemin Un jour on se dira qu’on a vu le chemin on a suivi ce chemin Parce qu’il y a un chemin


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it was meant to be

There is magic in a true love story. Things happen because it was written in the stars long ago. The beauty of destiny as we stumble into love.

I SAW YOU WALKING DOWN MY STREET THAT DAY MY HEART MADE A LEAP SINCE THEN ALL I CAN TALK ABOUT IS YOU ALL THAT TIME I ALREADY KNEW YOU CHANGED MY LIFE YOUR ‘YES’ MEANT EVERYTHING TO ME YOU AND I WILL GO A LONG WAY BECAUSE IN YOUR ARMS NOTHING CAN GET TO ME I JUST WANT TO DANCE AND DANCE TO CELEBRATE OUR BEAUTIFUL MEETING I DON’T WANT TO TAKE ANYTHING FOR GRANTED THIS PRESENT I RECEIVED WAS A WISH WE HAVE TO THANK OUR GODS FOR THEY SAY LOVE COMES FROM HEAVEN LET’S GATHER EVERYONE UP IT’S TIME TO CELEBRATE A MIRACLE JUST HAPPENED LET’S GO LET’S GO COME OUT OF THE SHADOW STAND UP EVERYONE LET’S FORGET OUR PAINS I MET THE ONE WE MET

AND WE KNEW WE WOULD WE KNEW WE WOULD BE TOGETHER THAT EVERYTHING WOULD FALL INTO PLACE WE HAVE TO THANK OUR GODS FOR THEY SAY LOVE COMES FROM HEAVEN LET’S GATHER EVERYONE UP IT’S TIME TO CELEBRATE THE MIRACLE JUST HAPPENED.


DRUMS: DO / BASS: DAVID RAJAONARY / GUITAR: TETA, BIVY ACCORDION: REGIS GIZAVO / MAROVANY: DANIEL RAMAROSON / HORN SECTION: ROBERT AARON, MAC GELLHON PERCUSSIONS: PETIT, SAMUEL TORRES


LA MAGIE DE L’AMOUR

je t’ai vu passer dans ma rue ce jour là mon coeur n’a fait qu’un tour et depuis je ne parle que de toi A cet instant, j’ai su ce qu’il en serait tu as changé toute ma vie tu m’as dit oui et j’ai tout compris que ça irait très loin tous les deux car dans tes bras plus rien ne peut m’atteindre je n’ai qu’une envie danser danser… pour fêter notre belle rencontre je ne veux rien prendre pour acquis le cadeau qui m’est donné est un voeu il nous faut remercier nos dieux quand ils disent que l’amour vient du ciel réunissons tout le monde il est temps de fêter le miracle qui vient de se produire alefa alefa sortez de l’ombre debout tout le monde oublions nos malheurs je l’ai rencontré nifankahita aie aie on le savait on le savait qu’on se rencontrerait on le savait qu’on serait ensemble on le savait que tout allait se mettre en place il nous faut remercier nos dieux quand ils disent que l’amour vient du ciel réunissons tout le monde il est temps de fêter le miracle qui vient de se produire.


UPCOMING SHOWS & PREVIOUS SHOWS

FEB 22 @ 8pm

2015

Club Balattou

4372 Blvd. Saint-Laurent, Montreal, QC H2W 1Z5 CA

Phone:+1 514-845-5477

FEB 19 @ 9pm

2015

Joe’s Pub

425 Lafayette St. New York, NY 10003 USA

NOV 26 @9:30pm

2014

Sunset Sunshine Jazz Club

Paris, France

SEP 30 @ 7pm

2014

Jao's Pub

Madagascar

SEP 19

2014

Festival Angaredona

IFM Antananarivo Madagascar

AUG 30 @ 2:30pm

2014

Antsahamanitra

Antananarivo Madagascar

JUL 31

2014

Madison Center Park Festival

215 S. Brearly St. Madison, WI USA

JUL 29 & 30

2014

Music and Dance Workshops

Madison, WI USA

JUL 26

2014

Lee Center Kaufman Auditorium

1108 Jefferson St. Alexandria, VA 22314 USA

JUL 24

2014

NYC Ginny’s Supper Club

The Red Rooster

310 Malcolm X Blvd, New York, NY 10027 USA

JUL 22

2014

Joe’s Pub

425 Lafayette St. New York, NY 10003 USA

JUL 19

2014

Yoshi’s San Francisco

1330 Fillmore St. SF, CA 94115 USA

JUL 18

2014

Toronto Harbor Front Festival

Harbourfront Centre

235 Queens Quay W, Toronto, ON M5J 2G8 Canada

JUL 16 @ 9:30pm

2014

Montreal Nuits d’Afrique Festival

Cabaret du Mile End

5240 Av du Parc, Montréal, QC H2V 4G7 Canada

JUL 13

2014

Old Town School of Folk Music Festival

4544 N. lincoln Ave. Chicago, IL 60625 USA

JUL 12

2014

Chicago Summer Dance Series

Spirit of Music Garden in Grand Park

601 South Michigan Ave. Chicago, IL 60605 USA

JUL 10

2014

Chicago Summer Dance in The Park Series

Jackson Park 63rd Street Beach

6300 Lake Shore Drive, Chicago, IL 60649 USA

JUL 4

2014

RSM Canada John Abbott College

21 275 Rue Lakeshore, Sainte-Anne-de-Bellevue

QC H9X 3L9 Canada

RAZIA SAID BIOGRAPHY

Singer and songwriter Razia Said’s nomadic life has taken her across Africa to France, Italy, Ibiza, Bali and New York City, but despite these wanderings, her heart and soul remains inexorably tethered to Madagascar, the land of her birth. Her musical explorations have also been wide ranging, and over the years Razia has experimented with French chanson, rock, jazz and even smooth, Sade-style R&B. But it took reaching back to her cultural roots for Razia to uncover her true artistic calling and emerge as both a unique voice in the global music scene as well a passionate advocate for the environment.

Razia spent her childhood in the town of Antalaha in northeastern Madagascar. The source for the world’s most prized Bourbon vanilla, Antalaha is one of Madagascar’s wealthiest communities, although there remains a great gap between rich and poor. Razia was born on December 1, 1959 to a Malagasy/Comorian mother and a Malagasy/Indian father. Her mother was just a teenager when Razia was born and not yet ready for the role of parenting. To diffuse the scandal and to work, her mother was sent to the Comores Islands and Razia’s grandparents raised her as their own in a bustling household filled with relatives. Razia’s grandfather owned vanilla, coffee, and cloves plantations near the Masoala national park, which Razia loved to visit. As a young girl Razia was a real tomboy, you could always find her climbing in trees and exploring the exotic natural world around her. Razia first heard the infectious rhythms of local salegy music blasting out of the town’s ubiquitous radios. It was one of Razia’s uncles that first introduced her to French music as well as The Beatles, James Brown, Jimi Hendrix and other Western stars. Her younger uncle even invited her to sing the latest French pop songs on stage with his band when she was just ten years old.

Believing that her grandparents were her parents, Razia was in for a shock when she learned at age eleven that “Aunt Hassanatte” who regularly visited from the Comores was actually her mother. In fact, by that time Razia’s real mother had married a French architect and wanted Razia to join them in the West African country of Gabon. Suddenly, Razia was uprooted from the world she knew and traveled on an epic journey through Dar Es Salaam, across the Congo River to a new life and family. In Gabon, Razia discovered that the local church had a choir, but one had to be Catholic to join, and Razia was raised a Muslim. Music was far more important to her then the details of which God she prayed to, so she begged her mother to allow her to convert…which she did. Razia was also exposed to the funky grooves of Fela, the poetry of Pierre Akendengue, Papa Wemba and other African artists who were popular in Gabon at the time.

After three years in Gabon, Razia was sent to boarding school in southern France, where she flirted with the idea of playing the guitar but felt intimidated by the fact that she is left handed. Seeking economic stability, Razia received her doctorate in Pharmacology and moved to Paris. But her passion remained with the arts, and in Paris, Razia made a living through modeling, acting and occasional music gigs. In 1987, Razia moved to New York City with her boyfriend who will soon be the father of her daughter. Over the years, Razia lived in Bali, Ibiza and Milan, working as a stylist, an actor and in fashion, struggling all the while to find her own musical direction. Razia was eager to create and record her own songs; while she was expecting her daughter, she decided to enroll at the New School in New York to learn to play guitar. She then started writing original songs, including some in the Malagasy language.

A few years later Razia met and married Jamie Ambler, a musician, filmmaker and creative director in advertising. Together they started recording her first album. While Razia was happy to have gotten some of her songs recorded, the pop-oriented, English-language R&B and jazz direction left her unfulfilled; she wanted to get back to her roots. Razia eventually met at the Womex (world music festival) the manager of the famous Malagasy band Njava based in Belgium. He suggested that Razia record with them, songs in the Malagasy language and inspired by the rhythms, melodies and instruments from her childhood.

Thus began the long and challenging process of recording of her album Zebu Nation. Work began in 2006 In Belgium, where Njava was based, but Razia felt that the only way to truly capture the sound she was looking for was to bring the producers to Madagascar to record with local musicians in the right setting. For six weeks, they traveled around the island, and discovered along the way the environmental damage taking place as the result of unfettered slash and burn agriculture and climate change. Razia’s longing to protect and preserve the environmental and cultural heritage of her homeland permeated the songs on the album, and gave Zebu Nation a powerful, real-world significance.

In order to finish Zebu Nation Razia and Jamie spent the next couple of years working with a range of producers and musicians, such as Malagasy guitarist Dozzy Njava, accordionist Regis Gizavo and some of top New York-based musicians to craft an album that captured Razia’s particular musical vision.Thanks to an intense attention to detail, strong sense of style and unwavering devotion to the craft of Malagasy music, Razia created an exceptional album that earned praise around the globe.

Since the release of Zebu Nation by Cumbancha Discovery in 2010, Razia has toured worldwide, spreading messages of environmentalism and social action in her native language, Malagasy. In 2011, Razia returned to the rainforest where she spent her youth and created a festival named “Mifohaza Masoala - Wake Up Masoala." Concerts were performed in and around the threatened Masoala rainforest, gathering more than 20,000 people and mobilizing the entire environmental community of the region. Pulling off such an event in Razia’s homeland, where most people made a living from illegally harvested rosewood, was a risky business. But a connection was forged with the villagers living on the edge of the Masoala. People came from the most remote part of the forest, some walking for days to attend and participate to the event. 20,000 new trees were planted in and around the Masoala during the festival.

Razia immediately set about organizing an international extension to her festival. She changed the name to “Wake Up Madagascar” and raised funds to create a tour across the USA and Canada in the summers of 2012 and 2014. The same musicians that performed alongside her in the Masoala were now bringing their music and message to North America. The show, which featured Razia alongside Jaojoby, Charles Kely and Saramba was ecstatically received. Its mission was to raise awareness for her devastated country and introduce the largest assortment of Malagasy music ever seen in North America. Wake up Madagascar appeared at major venues such as Joe's Pub in New York City, Nuits d’Afrique in Montreal, Levitt Pavilion in Los Angeles and many others.

It was during this busy time on the road that Razia started putting together the elements she needed to craft her second album. The songs on Akory feature lyrics essentially in Malagasy but also in French and English. Akory, which means "What Now?" in the Malagasy language, was produced on four continents over four years and saw Razia diving even more deeply into her Malagasy roots. Featuring a more stripped-down approach than her debut album, Akory is full of upbeat songs with vibrant melodies and soulful collaborations with a number of great musicians.

Razia was joined on Akory by some of the leading names of Malagasy music, including guitar virtuoso D’Gary, legendary accordionist Regis Gizavo, valiha phenom Rajery, and nimble-fingered guitarist Teta. Razia presented rhythms from the four corners of Madagascar, including showcase performances on traditional instruments such as marovany (a wooden box zither), valiha (a zither made of a bamboo tube and plucked metal strings) and lukanga (a three stringed fiddle).

Recording for Akory started in May 2011 in the renowned Studio Mars in Antanarivo with ace Malagasy engineer and producer Bivy. Razia arrived from New York with twelve new songs and began working with her friend and internationally acclaimed valiha master Rajery to adapt them into Malagasy musical forms. Razia was keen to work with as many Malagasy legends as she could on this album, she states “ Malagasy music and talents disserve to be better known and therefor exposed to the world”. The super group she put together made up of Bivy (guitar), Do (drums), Johnny (bass), Daniel (marovany), Teta (guitar), and Petit (percussion) worked solidly for days, rehearsing intensively in the studio. The magic soon came together as the intricate 6/8 rhythms took shape and transformed the original songs into an urgent, passionate wave of sound. Razia was then joined in the studio by her regular guitar player Charles Kely, drummer Jimmy, Rajery himself on valiha, Surgi on lukanga, and D’Gary who co-wrote the song "Gny Lalagna (The Way)" with Razia.

The tracks were then taken to Paris where the stellar accordionist Regis Gizavo and violinist Francois Michaud added further layers. Engineer Nir Graff, producer Jamie Ambler and Malagasy bass player, singer and vocal coach David Rajaonary supervised further recordings in New York, including 4 tracks with drummer Harvey Wirht, bassist Michael Olatuja and percussionist Samuel Torres. Godfrey Diamond mixed the album in Brooklyn and the album was mastered by the famous Leon Zervos at Studios 301 in Australia.

With work on the album having taken place in Madagascar, Paris, New York and Australia, Akory is a truly international effort. While Razia confronts some difficult topics on Akory, the closing track offers a positive message of hope that love will save the day in the end. While the album does not pretend to answer the question raised by its title, it argues that we can change our current path and work together towards a more positive future. Cumbancha will release Akory in Europe in November 2014 and the rest of the world in February 2015.