After leaving college, Blount became known as the most singularly devoted musician in Birmingham. He rarely slept, citing Thomas Edison, Leonardo da Vinci, and Napoleon as fellow highly productive cat-nappers. He transformed the first floor of his family's home into a conservatory-workshop, where he wrote songs, transcribed recordings, rehearsed with the many musicians who drifted in and out, and discussed Biblical and esoteric concepts with whoever was interested.
Blount became a regular at Birmingham's Forbes Piano Company, a white-owned company. Blount visited the Forbes building almost daily to play music, swap ideas with staff and customers, or copy sheet music into his notebooks. He formed a new band, and like his old teacher Whatley, insisted on rigorous daily rehearsals. The new Sonny Blount Orchestra earned a reputation as an impressive, disciplined band that could play in a wide variety of styles with equal skill.
In late 1968 Sun Ra and the Arkestra made their first tour of the US West Coast. Reactions were mixed. Hippies accustomed to long-form psychedelia like the Grateful Dead were often bewildered by the Arkestra. By this time, the performance included 2030 musicians, dancers, singers, fire-eaters, and elaborate lighting. John Burks of Rolling Stone wrote a positive review of a San Jose State College concert. Sun Ra was featured on the April 19, 1969 cover of the magazine, which introduced his inscrutable gaze to millions. During this tour, Damon Choice, then an art student at San Jose, joined the Arkestra and became its vibraphonist.
Starting with concerts in France, Germany, and the United Kingdom in 1970, the Arkestra began to tour internationally. They played to audiences who had known his music only through records. Sun Ra continued playing in Europe to nearly the end of his life. The saxophonist Danny Thompson became a de facto tour and business manager during this era, specializing in what he called "no bullshit C.O.D.," preferring to take cash before performing or delivering records.
In early 1971, Sun Ra was appointed as artist-in-residence at University of California, Berkeley, teaching a course called The Black Man In the Cosmos. Few students enrolled, but his classes were often full of curious people from the surrounding community. One half-hour of each class was devoted to a lecture (complete with handouts and homework assignments), the other half-hour to an Arkestra performance or Sun Ra keyboard solo. Reading lists included the works of Madame Blavatsky and Henry Dumas, the Tibetan Book of the Dead, Alexander Hislop's The Two Babylons, The Book of Oahspe, and assorted volumes concerning Egyptian hieroglyphs, African American folklore, and other topics.
In 1971, Sun Ra traveled throughout Egypt with the Arkestra at the invitation of the drummer Salah Ragab. He returned to Egypt in 1983 and 1984, when he recorded with Ragab. Recordings made in Egypt were released as Live in Egypt, Nidhamu, Sun Ra Meets Salah Ragab, Egypt Strut and Horizon.
In 1972, San Francisco public TV station KQED producer John Coney, producer Jim Newman, and screenwriter Joshua Smith worked with Sun Ra to produce an 85-minute feature film, entitled Space Is the Place, with Sun Ra's Arkestra and an ensemble of actors assembled by the production team. It was filmed in Oakland and San Francisco. On May 20, 1978, Sun Ra and the Arkestra appeared on the TV show Saturday Night Live.
In New York City in the fall of 1979, Sun Ra and the Arkestra played as the "house band" at the Squat Theatre on 23rd Street, which was notorious as the performance venue of the avant-garde Hungarian theater troupe. Janos, their manager, transformed the theater into a nightclub while most of the troupe was away that season performing in Europe. Debbie Harry, "The Velvet Underground"'s John Cale and Nico (from Andy Warhol's Factory days), John Lurie and 'The Lounge Lizards', and other pop and avant-garde musicians were regulars. Sun Ra was disciplined and drank only club soda at the gigs, but did not impose his strict code on his musicians. They respected his discipline and authority. Soft-spoken and charismatic, Sun Ra turned Squat Theater into a universe of big band "space" jazz backed by a floor show of sexy Jupiterettes. He directed while playing three synthesizers at the same time. In those days, "Space Is The Place" was the space at Squat.
The Arkestra continued their touring and recording through the 1980s and into the 1990s.