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238		<h1 class="post-heading" data-pagefind-meta="title">Warren Haynes Opens Up About the Creative Journey Behind New Orchestral Album ‘Dreams &amp; Songs’ (INTERVIEW)</h1>
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315<p class="wp-block-paragraph"><strong>Warren Haynes has spent more than four decades making music that thrives on freedom, improvisation, and unexpected turns. So, when he decided to put some of his most beloved songs in the hands of a 64-piece orchestra, the challenge wasn’t simply adding strings to the equation. It was about discovering what could be revealed by hearing familiar music in an entirely new way. Working with producer Don Was and a remarkable collection of arrangers and musicians, Haynes has transformed <a href="https://wpcms.glidemagazine.com/330200/warren-haynes-dreams-songs-a-symphonic-journey-transforms-familiar-govt-mule-dead-allman-brothers-classics-into-orchestral-epics-album-review/" data-type="post" data-id="330200"><em>Dreams & Songs</em> </a>into something more ambitious than a symphonic retrospective: a fresh look at a catalog that continues to evolve.</strong></p>
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319<p class="wp-block-paragraph">Not all live symphonic rock records are created equal. Deep Purple helped establish the template in 1969 with the Royal Philharmonic Orchestra, and since then everyone from Elton John to Metallica has taken a turn bringing rock music into the classical realm. But too often, the orchestra adds so much weight that the songs arrive like a cruise ship pulling into port in Miami; cumbersome, oversized, and somehow less agile than they were to begin with.</p>
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323<p class="wp-block-paragraph">When Warren Haynes was approached about working with the Asheville Symphony Orchestra, he brought a perspective few artists could match. He had already been the first featured artist in the Jerry Garcia Symphonic Celebration, a concert series that continues to find new ways to bring the Grateful Dead’s music into an orchestral setting. Haynes understood an important truth: not every great rock song is going to work with a symphony, and the goal wasn’t simply to add strings to a familiar catalog. It was to find songs that could be transformed by the experience.</p>
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327<p class="wp-block-paragraph">Working with legendary producer Don Was, Haynes curated a setlist spanning his work with Gov’t Mule, the Allman Brothers Band, his solo career, and the Grateful Dead, while also making room for inspired covers of U2’s “One” and The Band’s “It Makes No Difference.” A group of world-class arrangers was then tasked with reimagining the material.</p>
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331<figure class="wp-block-image size-large"><a href="https://cdn.glidemagazine.com/wp-content/uploads/2026/09/14225125/warrenhaynes3.jpg"><img loading="lazy" decoding="async" width="900" height="617" src="https://cdn.glidemagazine.com/wp-content/uploads/2026/09/14225125/warrenhaynes3-900x617.jpg" alt="" class="wp-image-3302
33103" srcset="https://cdn.glidemagazine.com/wp-content/uploads/2026/09/14225125/warrenhaynes3-900x617.jpg 900w, https://cdn.glidemagazine.com/wp-content/uploads/2026/09/14225125/warrenhaynes3-578x396.jpg 578w, https://cdn.glidemagazine.com/wp-content/uploads/2026/09/14225125/warrenhaynes3-768x526.jpg 768w, https://cdn.glidemagazine.com/wp-content/uploads/2026/09/14225125/warrenhaynes3.jpg 1200w" sizes="auto, (max-width: 900px) 100vw, 900px" /></a></figure>
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335<p class="wp-block-paragraph">The result was recorded over two nights at Asheville’s Thomas Wolfe Auditorium, Haynes’s hometown venue, with a 64-piece orchestra joining an equally formidable group of improvisers: Oteil Burbridge, John Medeski, Jeff Sipe, Greg Osby, Edwin McCain, and Jasmine Muhammad. Led by conductor Rich Daniels of the Chicago City Lights Orchestra, the performances strike a balance between orchestral precision and the “jam-based” freedom that has defined Haynes’s music throughout his career.</p>
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339<p class="wp-block-paragraph">All of this is now captured on Dreams & Songs: A Symphonic Journey, a 16-track collection that moves freely through Haynes’s musical history. There are Gov’t Mule staples such as “Banks of the Deep End” and “Thorazine Shuffle,” Allman Brothers classics including “Whipping Post” and “Dreams,” Grateful Dead favorites such as “Shakedown Street,” “Terrapin Station,” and “Black Peter,” and unexpected selections that reveal different sides of Haynes’s musical vocabulary.</p>
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343<p class="wp-block-paragraph">What began seven years ago as the <em>Dreams & Songs Symphonic Experience</em> has grown into a recurring musical event, with performances at Red Rocks and throughout the country. Now, with the album’s release, the project takes on a life beyond the stage.</p>
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347<p class="wp-block-paragraph"><strong><em>Glide</em> spoke with Haynes about the origins of the symphonic project, the challenge of translating improvisational music into an orchestral framework, his creative partnership with Don Was, and what he has discovered by looking back at his catalog through an entirely different lens</strong>. We also got a glimpse of what’s next for an artist who, after more than four decades, still doesn’t seem particularly interested in slowing down.</p>
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351<p class="wp-block-paragraph"><strong>How did this project come about? What was the initial idea that made you think, “I want to hear this music with a symphony”?</strong></p>
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355<p class="wp-block-paragraph">It goes back to ten years ago when I did the Jerry Garcia Symphonic Celebration. At that point, I hadn’t yet worked with a symphony. The Garcia estate reached out to see if I would be interested in being the first artist to interpret Jerry’s music in a manner that is now an ongoing thing. I agreed to participate and did a couple of tours that way. I really enjoyed it. </p>
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359<p class="wp-block-paragraph">Some time later, I got a call from the Asheville Symphony Orchestra saying they were interested in doing something together. At the time, I didn’t know what it would be, but my wife, Stephanie, and I discussed it, and she suggested doing a retrospective of everything I had been doing over the last 30 years. That ended up including some Allman Brothers songs, some Gov’t Mule songs, some songs from my solo records, and some Grateful Dead songs. That made sense to me and gave me a lot of material to choose from. I don’t think that most rock or pop music marries well with a symphony. I think you have to look at it on a song-by-song basis, so it was important to me that we only pick those that work really well. </p>
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363<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
364<iframe loading="lazy" title="Warren Haynes - Dreams (Dreams & Songs)" width="800" height="450" src="https://www.youtube.com/embed/A9kXjzNkeW0?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture;
364 web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
365</div></figure>
366
367
368
369<p class="wp-block-paragraph"><strong>There have been plenty of pairings between rock artists and orchestras over the years. Was there a particular project that served as a North Star for you in terms of what you wanted this to sound or feel like, and what you wanted to avoid?</strong></p>
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372
373<p class="wp-block-paragraph">Not really. I wanted it to be different from any of the other things I had heard. I wanted it to be much more open to improvisation, because that’s such a big part of our world. The only things that come to mind are the <em>Thelonious Monk Orchestra at Town Hall </em>record, where he was backed by a big band. That’s always been inspiring to me, and of course there’s Frank Zappa’s symphonic record. But I was just trying to determine a way of making this something unique that I would be proud of. </p>
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377<p class="wp-block-paragraph"><strong>When you’re working with such a large ensemble, how do you create a framework that gives the musicians enough structure to keep everything together while still leaving room for improvisation?</strong></p>
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380
381<p class="wp-block-paragraph">It begins with designating places where the orchestra will bow out, allowing the band to improvise. Then on cue the symphony will come back in. Then there’s our secret weapon, Rich Daniels, the conductor, who we discovered midway through the Garcia Symphonic Celebration. Rich is also a jazz saxophone player, so he understands our world and is able to bridge these two things extremely well. A large part of that is rehearsal. He knows how to cut to the chase and just rehearse the sections that are the most complicated. You have to remember that these orchestras can sight-read anything. At rehearsal, that allowed Rich to only focus on things that he knew would be challenging. That really made a huge difference. </p>
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385<p class="wp-block-paragraph">The way we discovered that was during a Garcia celebration performance at the Oakdale Theater in Connecticut. There we met Rich for the first time. He was conducting the symphony that evening (there was a different conductor every night), and Jeff Sipe walked by the conductor’s dressing room and heard someone blowing “jazz sax”. He came into the green room where I had been hanging out and told me that he’d just heard someone playing some killer jazz saxophone and that he thought that it was the conductor. So, we walked over to Rich’s dressing room and listened for a bit, then knocked on the door to introduce ourselves. That led to this interesting connection and that night Jeff, and I had the conversation about having Rich do all of the shows. It was a big turning point. </p>
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389<p class="wp-block-paragraph"><strong>You brought together a group of accomplished orchestral arrangers for the project. How did you decide which songs to give to each arranger, and how much direction did you give them before they began?</strong></p>
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393<p class="wp-block-paragraph">I sent band arrangements to each arranger. Some of them were live performances, some were studio versions. Then each arranger would send me demos of what they came up with, which for the most part were cheesy keyboard demos. So, I didn’t really know what to expect completely until we arrived at the first rehearsal. Everyone did such an amazing job. </p>
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396
397<p class="wp-block-paragraph"><strong>The album features a number of familiar faces, but I don’t recall a project in which you’ve had both Jasmine Muhammad and Edwin McCain contribute background vocals. How did they become part of this?</strong></p>
398
399
400
401<p class="wp-block-paragraph">Jasmine has done a lot with me, and she’s usually joined by another female vocalist. For this, I was thinking that it would be nice to have a male voice instead of a second female, and since we were going to be in Asheville, I called Edwin to pick his brain about who he might recommend for that role. He told me that he would be into doing it. Edwin and Jasemine had never sung together, so they both did their homework and sounded amazing. There’s a different kind of energy and texture when all the vocalists are lead singers.</p>
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405<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper">
406<iframe loading="lazy" title="Warren Haynes - Banks Of The Deep End (Official Live Video)" width="800" height="450" src="https://www.youtube.com/embed/lhk7Bmsifn8?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture;
406 web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
407</div></figure>
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411<p class="wp-block-paragraph"><strong>“Instrumental Illness” gives the orchestra a chance to participate directly in the jam rather than simply providing a backdrop. How challenging was it to make that work in a live setting?</strong></p>
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415<p class="wp-block-paragraph">That’s Medeski, who has such a history with all these great jazz records where big bands or strings are incorporated into the sound. He can kind of forecast what backdrops would be fun to improvise against. John also has a history in classical music that goes way back, so he was able to bridge that gap as well. </p>
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419<p class="wp-block-paragraph"><strong>Was there a song you really wanted to include that simply didn’t translate to the orchestral approach? And on the other side, was there an arrangement that surprised you by working even better than you expected?</strong></p>
420
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423<p class="wp-block-paragraph">We filtered all of that out before we went to the arrangers. But there were a few songs that surprised me. The arrangement of “Raven Black Night” took the song to a new place. Also, the arrangement of “Broken Promise Land” is cinematic and appropriate, but I still didn’t expect it to sound like it did. I really didn’t get a grip on it until rehearsal. The only song that we worked up and didn’t use was “Fire in the Kitchen” from my first solo record. It wasn’t because of the arrangement. We just didn’t like the performance. In hindsight, we were overtime anyway and one song had to go. After night one, that song got the axe. </p>
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426
427<p class="wp-block-paragraph"><strong>How did The Band’s “It Makes No Difference” make the cut?</strong></p>
428
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431<p class="wp-block-paragraph">I wanted to do something that connected to my history with <em>The Last Waltz</em> tour. This is a song that I sang every night on that tour. The Allman Brothers performed it a handful of times, and I would sing it then as well. It’s just a beautiful tune. </p>
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435<p class="wp-block-paragraph"><strong>Has working on this project opened the door to exploring your music through another musical lens or genre that you hadn’t previously considered?</strong></p>
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439<p class="wp-block-paragraph">One of the things that has been on my list for a long time is jazz-influenced instrumental record. That might come up sometime soon. Gov’t Mule has done instrumentals on almost every album. The Allman Brothers obviously have that as part of their history as well. So, it would be nice, maybe with some special guests and collaborations, to make a record that leans more toward jazz than anything we’ve ever done before. </p>
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548															<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 512 512"><path d="M111.8 62.2C170.2 105.9 233 194.7 256 242.4c23-47.6 85.8-136.4 144.2-180.2c42.1-31.6 110.3-56 110.3 21.8c0 15.5-8.9 130.5-14.1 149.2C478.2 298 412 314.6 353.1 304.5c102.9 17.5 129.1 75.5 72.5 133.5c-107.4 110.2-154.3-27.6-166.3-62.9l0 0c-1.7-4.9-2.6-7.8-3.3-7.8s-1.6 3-3.3 7.8l0 0c-12 35.3-59 173.1-166.3 62.9c-56.5-58-30.4-116 72.5-133.5C100 314.6 33.8 298 15.7 233.1C10.4 214.4 1.5 99.4 1.5 83.9c0-77.8 68.2-53.4 110.3-21.8z"/></svg>
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565							   									
566							<section>
567								<h2>Archives</h2>
568								<select class="archive-select">
569										<option value="" disabled selected>Select Year</option>
570										<option value="/date/2026/">2026</option>
571										<option value="/date/2025/">2025</option>
572										<option value="/date/2024/">2024</option>
573										<option value="/date/2023/">2023</option>
574										<option value="/date/2022/">2022</option>
575										<option value="/date/2021/">2021</option>
576										<option value="/date/2020/">2020</option>
577										<option value="/date/2019/">2019</option>
578										<option value="/date/2018/">2018</option>
579										<option value="/date/2017/">2017</option>
580										<option value="/date/2016/">2016</option>
581										<option value="/date/2015/">2015</option>
582										<option value="/date/2014/">2014</option>
583										<option value="/date/2013/">2013</option>
584										<option value="/date/2012/">2012</option>
585										<option value="/date/2011/">2011</option>
586										<option value="/date/2010/">2010</option>
587										<option value="/date/2009/">2009</option>
588										<option value="/date/2008/">2008</option>
589										<option value="/date/2007/">2007</option>
590										<option value="/date/2006/">2006</option>
591										<option value="/date/2005/">2005</option>
592										<option value="/date/2004/">2004</option>
593										<option value="/date/2003/">2003</option>
594								</select>
595								
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603
604							</section>
605							<section>
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607								
607<script src="/assets/js/load-authors.js" defer></script>
607
608							</section>  
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620									  
621							<section>
622								<div class="link-header">
623									<h2>Bluesky</h2>
624									<a href="https://bsky.app/profile/glidemag.bsky.social" target="_blank">
625										<svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 512 512"><path d="M111.8 62.2C170.2 105.9 233 194.7 256 242.4c23-47.6 85.8-136.4 144.2-180.2c42.1-31.6 110.3-56 110.3 21.8c0 15.5-8.9 130.5-14.1 149.2C478.2 298 412 314.6 353.1 304.5c102.9 17.5 129.1 75.5 72.5 133.5c-107.4 110.2-154.3-27.6-166.3-62.9l0 0c-1.7-4.9-2.6-7.8-3.3-7.8s-1.6 3-3.3 7.8l0 0c-12 35.3-59 173.1-166.3 62.9c-56.5-58-30.4-116 72.5-133.5C100 314.6 33.8 298 15.7 233.1C10.4 214.4 1.5 99.4 1.5 83.9c0-77.8 68.2-53.4 110.3-21.8z"/></svg>
626									</a>
627								</div>
628
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640								></bsky-embed>
641							</section>
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643							
643<script>
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653   
654						</aside>
655				</div>
656		</section>		
657
658		<footer class="footer">
659			<div class="page-width">
660				<div id="glidemagazine_sticky_anchor"></div>
661				
661<script>
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671				</script>
671
672				<ul class="nav">
673					<li class="nav-item"><a href="/about">About</a></li>
674					<li class="nav-item"><a href="/staff">Staff</a></li>
675					<li class="nav-item"><a href="/contact-us">Contact Us</a></li>
676					<li class="nav-item"><a href="/advertise-with-us">Advertise with Us</a></li>
677				</ul>			
678				<span>Copyright © 2003 - 2026 Glide Publishing LLC. All Rights Reserved.</span>
679			</div>
680		</footer>
681
682		
682<script>
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685			var x = document.getElementById("mobLinks");
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