The incipient period of Asian American jazz-based music is a compelling site for studying the African American influence on Asian American politics and culture more broadly in the 1970s and 1980s. The cultural politics of Asian American musician-composers on both the east and west coasts present a view of this Afro-Asian connection. In particular, Asian American jazz-based music in the 1970s and 1980s demonstrates the strong pull both politically and musically of Black Nationalism and its attendant art form, Free Jazz, at a time when Asian Americans were beginning a process of reinventing themselves. The early music of Glenn Horiuchi and Mark Izu of the San Francisco Bay Area's Asian Improv Arts Collective and New York musician-composer Fred Ho narrate the rise of a politicized music. All three artists, well known within the Asian American music world, share a sociopolitical stance, a penchant for improvisation, and an approach that explores the nuances of traditional Asian music. The political viewpoints and performative practices of African American jazz musicians in the 1960s did initially inspire and shape Asian American politics and creative music, but starting in the late 1970s into the 1980s a number of musician-composers began to chart new musical territory that embodied their own political and cultural consciousness. Asian Americans identified with jazz because it served as a collective voice of urban African American communi-