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As idiomatically specific as the Minuet, Waltz and Two-step, Reggae's double-time/single-time identity, where the downbeat supplants the backbeat, has taken its place in music.

Percussionist extraordinaire Stewart Copeland's micro-time led me to the heart of Reggae. I was resistant at first, being a "dyed-in-the-wool" Rhythm and Blues devotee. I initially thought of Reggae as middle-of-the-road R & B, a non-committal approach rather than the in-your-face darkness of R & B's soul. But as I got deeper into its processes, I not only felt its lightness of being, but its limitless ability to transform anything that sat on its rhythmic astonato.

The first movement of SYMPHONY #2-REGGAE, which along with SYMPHONY #3-HEAVY METAL and SYMPHONY #4-FUNK comprises a trilogy, was begun on May 8, 1984. I continued working over the next three years and completed the symphony on May 20 1987.

Jamaican in origin, this rock music, with its blues style, often with a political or religious message, was derived from Rastafarian beliefs, a sect devoted to Halle Selassie, former Emperor of Ethiopia, who believed himself to be a descendant of Sheba. Espousing love, peace and ganja (marijuana) Rastas wear their hair in dreadlocks, rope-like boya strands.

The four movements:

I. Moderato to: Jim & Nancy Gregory Dear friend and fellow musician, Jim was like an older brother to me. I witnessed his and Nancy's courtship. They ultimately married and had a son and daughter. II. Presto to: Kathi Long Dear friend and sensual lover, who was a remarkable "Santa Fe/Mex" chef. III. Lento Moderato to: Heather Marty Remarkable painter and lover. IV. Allegro Vivace to: Gigi Van Deckter & Strule Steele upon their marriage and subsequent divorce A highly intelligent and handsome woman, she met, married and immediately divorced the very affable Strule during the composing of this movement, soon enough proving herself so perfidious, she lost my friendship as well.

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This is serious music, and these are major works. There is nothing here that smacks of populist, commercial art. I would place Wayne very high among the ranks of major American symphonists. Highly recommended.

     —Jerry Dubins , Fanfare Magazine 2004

....'Wayne is a forceful composer.'

     — Variety 1983

'He has a lyrical voice mixed with a little wit, plenty of passion and tremendous sense of drama. What Gershwin did with jazz, he does with rock 'n' roll! A truly original voice who should be heard.'

     —Mark J. Petracca , The New Review of Records 1995

.....'If Haydn could use Austrian folk music in his symphonies, if Schubert could indulge the Landler, Ives create congestions of band marches, hymns, anthems and popular songs, then why shouldn't Hayden Wayne write a vivacious symphony based on Reggae

     —Scott MacClelland , Coast Weekly 1997

Hayden Wayne: Genius is as genius does (relentlessly)

     —John Blenn, November, 2000

Wayne writes well for orchestra, and he knows a certain market. The reggae rhythms (the backbeat eighths on 2 and 4) are varied and not omnipresent. And who knows, maybe someday the genre will have an honored tradition in concert music akin to the tango.

     —Steve Shaffer , 21ST Century Music 2001

....'Hayden Wayne... proved that he could also become a headliner of the first magnitude.

     —Billboard Magazine 1974