Narada Michael Walden -

Narada Michael Walden is an American jazz-funk/soul musician and producer who drummed in the second lineup of the Mahavishnu Orchestra, which made the 1974/75 albums Apocalypse and Visions of the Emerald Beyond. In 1976, he played on jazz-rock albums by Weather Report, Jaco Pastorius, Jeff Beck, Allan Holdsworth, and Nova.

As a solo artist, Walden debuted with the 1976 Atlantic release Garden of Love Light, followed by the 1977–79 albums I Cry, I Smile, Awakening, and The Dance of Life. During the 1980s, he issued three further Atlantic albums, followed by titles on Warner and Reprise.

Background

He was born Michael Walden on April 23, 1952, in Kalamazoo, Michigan, and later moved to Miami, where he played in bands and attended college. His nickname, Narada, came from Indian spiritual leader Sri Chimnoy, whose teachings also attracted singer Roberta Flack and guitarists Carlos Santana and John McLaughlin.

Mahavishnu Orchestra

McLaughlin led the jazz-rock supergroup Mahavishnu Orchestra, which had splintered after the 1973 departures of drummer Billy Cobham, keyboardist Jerry Goodman, keyboardist Jan Hammer, and bassist Rick Laird.

In early 1974, McLaughlin recruited 21-year-old Walden as Cobham’s replacement for the Mahavishnu release Apocalypse, recorded with the London Symphony Orchestra and produced by George Martin. Along with violinist Jean-Luc Ponty, keyboardist Gayle Moran, and bassist Ralphe Armstrong, Walden comprised the mark II Mahavishnu lineup that also recorded the 1975 release Visions of the Emerald Beyond. After Ponty left to focus on his solo career, Walden and Armstrong stayed for the 1976 Mahavishnu wrap-up Inner Worlds.

Meanwhile, Walden fielded invites from multiple artists. His first non-Mahavishnu credit is on the track “Marching Powder,” included on the 1975 Nemperor Records release Teaser by guitarist Tommy Bolin (who’d played on Cobham’s solo debut, Spectrum).

Early Session Work

In 1976, Walden played on two tracks (“Black Market,” “Cannon Ball”) on Black Market, the fifth studio album by Weather Report. That album features two bassists, the outgoing Alphonso Johnson and the incoming Jaco Pastorius, who each released solo debuts that year. Walden drums on six of the eight tracks on Johnson’s Moonshadows, composing the album-closer “Unto Thine Own Self Be True.” On Jaco Pastorius, Walden drums on the track “Come On, Come Over,” which also features Herbie Hancock and the Brecker Brothers.

Also in 1976, Walden drummed on one track (“Armando’s Rhumba“) on the album My Spanish Heart by Chick Corea; three tracks (“Led Boots,” “Come Dancing,” and “Sophie“) on Wired by Jeff Beck; and the entirety of Velvet Darkness, the debut solo album by Soft Machine guitarist Allan Holdsworth. That summer, Walden joined the London-based Italian jazz-rock band Nova for their second album, Vimana.

Amid these activities, Walden secured a solo deal. He recorded his first album at Atlantic Recording Studios, NYC, between August 23 and September 4, 1976.

Garden of Love Light

Narada Michael Walden released his debut solo album, Garden of Love Light, in November 1976 on Atlantic.

The album balances orchestral instrumentals with vocal numbers rooted in jazz-funk and soul. Walden combines progressive elements with string arrangements by Michael Gibbs and contributions from key players including David Sancious, Will Lee, and guitarists Carlos Santana, Jeff Beck, and Ray Gomez.

Walden wrote or co-wrote all nine tracks, with outside input from Gomez on “White Night” and Cynthia Anderson on “You Are Love.” The orchestral arrangements on four titles were conducted by Gibbs. Vocal parts feature Cissy Houston, Norma Jean Bell, Patty Scialfa, and The Victory Song Nightingales.

“White Night” opens as a five-minute instrumental led by Gomez’s sharp-toned guitar lines. “First Love,” arranged for strings and harp, includes a lyrical lead from Santana. Beck appears on “Saint and the Rascal,” a simmering jazz-funk piece with a driving bass line. The title track pairs Moog textures with gospel-styled chorus vocals. “The Sun Is Dancing” extends past nine minutes with shifting organ passages, brass interludes, and heavy drum patterns, introduced by the brief orchestral “Meditation.” Walden fronts “Delightful,” a mid-tempo ballad issued as the album’s single, and sings “You Got the Soul,” an early indicator of his later disco-soul style. “You Are Love,” co-written with Anderson, closes the set as a string-laden ballad.

A1. “White Night” (4:57)
A2. “Garden of Love Light” (4:55)
A3. “Delightful” (4:51)
A4. “First Love” (5:52)

B1. “Meditation” (1:38)
B2. “The Sun Is Dancing” (9:29)
B3. “You Got the Soul” (3:22)
B4. “Saint and the Rascal” (4:33)
B5. “You Are Love” (3:12)

Sessions occurred at Atlantic Recording Studios, New York, between August 23 and September 4, 1976, with producer Tom Dowd and engineer Dennis Mackay, assisted by Jimmy Douglass. Mixing took place at Trident Studios, London, between September 12 and 19.

The album features cover photography by Steinbicker/Houghton with lettering by Gerard Huerta. Art direction was handled by Bob Defrin and Lynn Breslin. Atlantic lifted “Delightful” as a single.

I Cry, I Smile

Narada Michael Walden released his second album, I Cry, I Smile, in October 1977 on Atlantic.

The album marks a shift from the heavier fusion of his debut toward a lighter, song-based set that blends soul, R&B, and funk with pop and rock textures. Guest musicians include flautist Herbie Mann, guitarist Hiram Bullock, and returning collaborators Ray Gomez, Norma Jean Bell, and percussionists Rafael Cruz and Sammy Figueroa.

Walden wrote all ten tracks and produced the sessions himself. Michael Gibbs conducted and orchestrated select passages, while Mann and Bell contributed flute and reed parts. Backing vocals came from Cheryl Alexander, Christine Faith, and Ellen DeLeston.

“I Need Your Love,” “I Remember,” and “So Long” highlight Walden’s soulful ballad approach with gentle pacing. “Better Man” flows with a shuffling rhythm, while “Soul Bird” carries a funk base with spiritual themes of inner freedom. “Oneness–Cry,” the album’s sole instrumental, recalls the fusion of his debut with a Santana-styled guitar lead. “Mango Bop” contrasts with thick rhythmic emphasis and Bullock’s sharpened guitar figures. The brief orchestral “Rainbow–Sky” segues into the expansive title track, inspired by Walden’s spiritual teacher Sri Chinmoy. “Heaven’s Just a Step Ahead” closes with bright funk-soul cadences and celebratory vocal lines.

A1. “I Need Your Love” (3:41)
A2. “Better Man” (4:19)
A3. “Soul Bird” (4:32)
A4. “I Remember” (4:30)
A5. “Oneness – Cry” (4:57)

B1. “Mango Bop” (4:43)
B2. “Rainbow – Sky” (1:17)
B3. “I Cry, I Smile” (5:46)
B4. “Heaven’s Just a Step Ahead” (4:31)
B5. “So Long” (4:22)

Sessions occurred at Atlantic Studios, New York, during April and May 1977 with Walden producing and Jerry Smith engineering, assisted by Jimmy Douglass and Randy Mason. Dennis King mastered the album, and Steven Short handled mix assistance.

The cover features photography by Steinbicker/Houghton with art direction by Bob Defrin and design by Lynn Breslin.

Awakening

Narada Michael Walden released his third album, Awakening, in February 1979 on Atlantic.

The album turns further toward pop, R&B, and soul with polished arrangements and layered vocal support. Walden produced the record with assistance from Patrick Adams, Sonny Burke, and Wayne Henderson. Guest players include Carlos Santana, the Brecker Brothers, and keyboardist Greg Phillinganes.

Walden wrote all nine tracks. Adams arranged and co-produced the string and horn sections on side one, while George Del Barrio handled orchestral passages on side two. Backing vocals feature the Pointer Sisters, Angela Winbush, Jim Gilstrap, Patty Scialfa, and Tawatha Agee.

“I Don’t Want Nobody Else (To Dance With You)” and “They Want the Feeling” drive with pronounced rhythmic force. “Give Your Love a Chance” moves at a softer pace with plaintive vocal phrasing, while the title track rises as a grand centerpiece with layered instrumentation. Side two opens with “Awakening Suite Part I,” followed by the stately “The Awakening.” “Listen to Me” and “Full and Satisfied” keep a bright tempo, while “Will You Ever Know” closes with a reflective tone.

A1. “Love Me Only” (6:05)
A2. “I Don’t Want Nobody Else (To Dance With You)” (4:24)
A3. “Give Your Love a Chance” (4:11)
A4. “They Want the Feeling” (3:58)

B1. “Awakening Suite Part I (Childhood – The Opening of the Heart)” (3:28)
B2. “The Awakening” (4:30)
B3. “Listen to Me” (4:54)
B4. “Full and Satisfied” (3:35)
B5. “Will You Ever Know” (4:59)

Sessions occurred at Power Station, Electric Lady Studios, and Crystal Sound. Bob Clearmountain engineered and mixed the first side, with Michael Frondelli recording selected vocals. Alan Sides engineered and mixed most of side two, assisted by Jimmy Schifflett.

The cover features photography by Norman Seeff, with inner sleeve photos by David Henderson.

The Dance of Life

Narada Michael Walden released his fourth album, The Dance of Life, in late 1979 on Atlantic.

The record emphasizes funk and disco with tightly arranged horn charts, glossy production, and rhythm-heavy pacing. Walden produced the album with Bob Clearmountain, who also engineered the sessions.

Walden wrote or co-wrote all eight tracks. Collaborators included Allee Willis, bassist T.M. Stevens, guitarist Corrado Rustici, and keyboardist Frank Martin, each credited on select songs.

“You’re Soo Good” opens with insistent rhythm and stacked female backing vocals. “I Shoulda Loved Ya” follows with slap bass lines and a breakdown that strips to handclaps and bass. “Lovin’ You Madly” continues the emphasis on rhythm, while “Tonight I’m Alright” expands with a timbale break, extended bass phrases, and brass stabs. “Crazy for Ya” shifts into ballad form with jazz inflections. “Carry On” sustains a darker, funk-centered atmosphere. The album closes with the title track, a six-minute instrumental that moves from atmospheric textures into fusion passages with Rustici’s guitar solo framed by Walden’s cymbal-heavy drumming.

A1. “You’re Soo Good” (6:02)
A2. “I Shoulda Loved Ya” (6:34)
A3. “Lovin’ You Madly” (5:15)
A4. “Crazy for Ya” (3:51)

B1. “Tonight I’m Alright” (5:14)
B2. “Why Did You Turn Me On” (4:41)
B3. “Carry On” (5:11)
B4. “The Dance of Life” (6:33)

Sessions occurred at Wally Heider Studios in San Francisco with Walden and Clearmountain producing. Clearmountain engineered with assistance from Jeff Nik Norman and Ray Willard.

The cover features photography by Norman Seeff, with design by Carin Goldberg.

The album produced the single “I Shoulda Loved Ya.”

Victory

Narada Michael Walden released his fifth album, Victory, in 1980 on Atlantic.

The record sharpens his mix of funk, pop, and jazz influences with a more forceful production style. Heavy horns, emphatic drumming, and pronounced bass lines dominate much of the set.

Walden wrote or co-wrote all eight tracks. Collaborators included Bunny Hull, Corrado Rustici, Lisa Walden, Randy Jackson, and Vicki Randle, each contributing to specific compositions.

“The Real Thang,” “I Want You,” and “Take It to the Bossman” open the record with assertive funk, driven by loud brass and insistent rhythms. “Alone Without You” slows the pace into ballad territory while retaining dramatic weight. “Get Up!” pivots back to fast, performance-driven funk. The closing “Victory Suite” extends across three sections: a percussion-centered opening, a battle sequence, and a climactic ballad titled “Victory for the Hero Soldiers,” recalling Walden’s fusion background.

A1. “The Real Thang” (5:37)
A2. “I Want You” (4:33)
A3. “Take It to the Bossman” (4:21)
A4. “Alone Without You” (4:28)
B1. “Get Up!” (4:25)
B2. “Lucky Fella” (4:22)
B3. “You Will Find Your Way” (4:10)
B4. “Victory Suite” (8:35)
B4a. “The Theme”
B4b. “The Battle (Hero-Soldiers Battle the Hostile Forces)”
B4c. “Victory for the Hero-Soldiers”

Sessions occurred at The Automatt in San Francisco with Walden and Bob Clearmountain producing. Clearmountain engineered, with mixing later at Power Station in New York.

The cover features photography by Norman Seeff, with design by Lynn Dreese Breslin.

Confidence

Narada Michael Walden released his sixth album, Confidence, in 1982 on Atlantic.

The record tightens his mix of funk, R&B, and jazz-pop with expansive horn and string arrangements and features appearances from players such as David Sanborn, Randy Brecker, and Wayne Shorter.

Walden wrote or co-wrote all eight tracks. Regular collaborators included Allee Willis, Randy Jackson, Frank Martin, Corrado Rustici, Bob Castell Blanch, Lisa Walden, and Jeffrey Cohen, each contributing lyrics or music on select compositions.

“You’re #1” opens with urgent funk and horn fire arranged by Jerry Hey. “Summer Lady” maintains a similar rhythmic drive, colored by Sanborn’s alto saxophone and Brecker’s horn charts. “I’m Ready” combines sharp brass with string layers under Michael Gibbs’ direction. “Safe in My Arms” and “Holiday” shift into mid-paced soul, while “Blue Side of Midnight” closes the album with a longer, nocturnal ballad underscored by Wayne Shorter’s soprano saxophone and Rustici’s atmospheric guitar.

A1. “You’re #1” (5:43)
A2. “Summer Lady” (5:18)
A3. “I’m Ready” (4:20)
A4. “Safe in My Arms” (4:14)

B1. “Confidence” (4:01)
B2. “Holiday” (4:27)
B3. “You Ought to Love Me” (5:10)
B4. “Blue Side of Midnight” (6:57)

Sessions occurred at The Automatt in San Francisco, George Massenburg Studios in Los Angeles, Eldorado Recording Studios, and Power Station in New York. Walden produced, with engineering by Bob Clearmountain, Dave Jerden, Ken Kessie, Leslie Ann Jones, and Mick Guzauski.

The cover features photography by Loren Hammer with art direction by Bob Defrin.

Looking at You, Looking at Me

Narada Michael Walden released his seventh album, Looking at You, Looking at Me, in 1983 on Atlantic.

The record extends his mix of R&B, funk, and pop with polished horn sections, layered synthesizers, and cameo appearances from players such as David Sancious, Randy Jackson, Marc Russo, Angela Bofill, and Andy Narell.

Walden wrote or co-wrote eight of the nine tracks with Jeffrey Cohen, Preston Glass, and others. The lone outside piece is a cover of the Holland–Dozier–Holland composition “Reach Out (I’ll Be There).” One further track, “Never Wanna Be Without Your Love,” was written by Jim Di Prima and Phillip Saisse.

The album opens with “Reach Out (I’ll Be There),” reworked with handclaps, bell tones, and an insistent bass figure from Randy Jackson. The title track follows with flugelhorn accents and a lyrical metaphor built around a watchful detective theme. “Burning Up” centers on Prophet synthesizer textures and brass lines, while “Shake It Off” presses heavier funk rhythm into a hybrid of acoustic piano and electronics. The ballad “Never Wanna Be Without Your Love” pairs Walden in duet with Angela Bofill. “Dream Maker” leans into a dance pulse with keyboard interplay, while “Tina” introduces a saxophone lead from Marc Russo. “Ain’t Nobody Ever Loved You” shifts toward a Caribbean party feel with Andy Narell on steel drums. The set closes with “Black Boy,” a Richard Wright tribute voiced over rock guitar and mellotron lines.

A1. “Reach Out (I’ll Be There)” (5:56)
A2. “Looking at You, Looking at Me” (4:36)
A3. “Burning Up” (4:19)
A4. “Never Wanna Be Without Your Love” (4:18)

B1. “Shake It Off” (5:12)
B2. “Dream Maker” (4:43)
B3. “Tina” (4:15)
B4. “Ain’t Nobody Ever Loved You” (4:44)
B5. “Black Boy” (4:29)

Sessions occurred at The Automatt in San Francisco with Walden producing. David Frazer engineered, assisted by Maureen Droney, Ray Pyle, and Wayne Lewis, with Ken Kessie handling basic tracks on “Never Wanna Be Without Your Love.” Bob Ludwig mastered the album.

The cover features photography by Norman Seeff with art direction by Lynn Dreese Breslin.

The Nature of Things

Narada Michael Walden released his eighth album, The Nature of Things, in 1985 on Atlantic.

The record extends his blend of R&B, jazz, and pop with layered synthesizers, drum-machine patterns, and guest appearances from Patti Austin, Corrado Rustici, Walter Afanasieff, and Randy Jackson. The album emphasizes message-driven songs with occasional mystical undertones.

Walden wrote or co-wrote all eight tracks, collaborating with Jeffrey Cohen, Preston Glass, and Walter Afanasieff on select songs.

The album opens with “That’s The Way It Is,” a dance track with brooding tones. “High Above The Clouds” follows with a majestic, fast-paced rhythm. “Gimme, Gimme, Gimme” features Patti Austin in duet over layered bass and keyboards. “Live It Up” and “Suspicion” continue mid-1980s dance-funk patterns, while the title track blends hip-hop rhythm, turntable scratching, and a mystical melody. “Dancin’ On Main St.” shifts toward rock with deeper, grittier vocals, and the closing track “Wear Your Love” adds Caribbean-inflected percussion.

A1. “That’s The Way It Is” (5:39)
A2. “High Above The Clouds” (6:05)
A3. “Gimme, Gimme, Gimme” (4:40)
A4. “Live It Up” (4:13)

B1. “The Nature of Things” (5:03)
B2. “Suspicion” (4:52)
B3. “Dancin’ On Main St.” (5:05)
B4. “Wear Your Love” (5:55)

Sessions occurred at The Automatt in San Francisco with Narada Michael Walden producing. David Frazer engineered with Maureen Droney, Michael Rosen, Ray Pyle, and Wayne Lewis assisting. Bob Ludwig mastered the album at Masterdisk.

The cover features photography by Victoria Pearson with art direction and design by Jeri McManus and Narada Michael Walden.

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