He was a minor member of the Burgundian School, a contemporary of Guillaume Dufay, and one of the first to use fauxbourdon in a mass setting.
He may be the same as a Reginaldus who was employed at the cathedral in Cambrai as a singing teacher to the boys in 1424.
Two are rondeaux, which was the popular type of French chanson at the time.
[1] His most famous composition is a complete setting of the mass, for three voices, which contains some of the earliest use of fauxbourdon.
[2] An unusual feature of this mass is that it contains music not only for the Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) but the Proper as well; in this regard it resembles the Missa Sancti Jacobi of Guillaume Dufay, which is often considered to be the earliest example of fauxbourdon to which the term was applied by the composer.