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Leo Casino Cleveland

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Leo Casino Cleveland

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By the s and '80s, I couldn't even recognize the neighborhood I knew. Crack came in and it this area where people came all dressed up to hear music had turned into a war zone.

It all went together - you would go out and look good and it's a good time. The club had a small intimate atmosphere.

Every seat was a good seat and there was good sound and a stage that you could look out and see everybody and everybody could see you.

It was one of the top clubs in the country. They booked anybody that was anybody. It was one of the first clubs where blacks and whites came together and attracted people from the West Side.

It was on a main drag, on Euclid, so it wasn't too far from downtown. You could catch a bus there and they had parking on the street.

It had a bar outside of the room. You could bring teenagers in on Sundays. People went to shows there and you felt safe.

Leo and Jules were innovative - two white guys who knew how to bring in entertainment. They brought in stars - like the Miracles and Supremes - more than any other club.

Gleasons was one of the first clubs in the area, but it was from the old days. Leo's was part of a new era. Sly, Slick and the Wicked. The Broadway of Cleveland: "Leo's sat in the middle of this culturally important area along Euclid Avenue that ran up to East th Street.

In the s, the area had all these clubs like the Versailles, the Circle Ballroom and the El Dorado, and they brought people down and, in the case of Leo's, tore down racial barriers.

These places inspired people to play instruments and form bands and do shows and make records. They kept the neighborhood vibrant and alive.

Basically, Euclid Avenue was like the Broadway of Cleveland during its heyday of around to Breaking barriers: "Leo's was the one club that was truly integrated.

And even though everyone was welcome you would usually only see one or two blacks there. Leo's tore down the barriers and became a groundbreaking point to come together.

It was a beautiful club known for its sound system, white table clothes, bar to left and a stage in front.

It was an elegant club. Black people would listen to those stations. Cleveland might've been segregated by East and West sides but the airwaves traveled everywhere and they gave Motown a chance and played a lot of the band that would come to Leo's.

The music scene: "The clubs started closing down and then Leo's closed and then they started tearing down those places.

Those clubs were the melting pot and when they closed a part of Cleveland disappeared. I left Cleveland and then remember coming back years later driving around East th and Euclid and I'm looking around I see grass and some trees, but none of the big buildings and clubs I grew up with.

I didn't even realize where I was. I was like, 'Are you kidding me? They killed this place. A regular at Leo's Casino. The experience: "I was living in Slavic Village and working as a teletype operator, and it felt so alive and fun being at Leo's, where everybody was dressed up and being so close to these incredible performers.

I still vividly remember standing at the bar as Smokey Robinson sang 'Yesterday. The vibe changed as the acts became stars: "I remember going to see her play the Richfield Coliseum in the s, and there were thousands of people screaming.

I hated it. I realized that Leo's was a different era, before music became a big business -- back when you went to see groups in a club instead of squinting at some Jumbotron because they're on a stage so far away.

The neighborhood: "There were a number of clubs at the time, including the Versailles Penthouse Club. Back then, people dressed up even if they were going to a bar.

There was never any trouble; it wasn't a troubled neighborhood. It was very close to East 55th and Euclid and you had a lot of things going on there, like WHK, radio station.

The times: "Leo's is a reminder of another time when Cleveland was alive and a lot of fun. It was a much bigger city then with a lot of population.

After the riots, things changed and people became more fearful of one another. You look at this club and realize why the city has such a great music legacy.

Leo's is also part of this great tradition of music fans going to clubs to see bands because they were passionate about music, even if they didn't already know the band.

That's how Cleveland developed its musical knowledge -- by going out and experiencing music. The idea that you want to be the first in, the first to hear and see a band is a big part of the experienced.

In Cleveland, that feeling of being there was at Leo's, where there was that flashpoint. There's this myth of the comet arriving on the scene, but people like Aretha Franklin had been getting on stages and alters for years - those who saw her at Leo's saw it all happening before them.

Leo's role in race: "Every city has a musical DNA. Cleveland's is special because of its location between New York and Detroit.

But Cleveland also had an integrated legacy, where people came together even as much of the country was segregated. Music was that great leveler.

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It's what in the grooves that counts. All the Motown acts had the best instructors and there were no weak acts. We had to reach a certain standard and that made the music wonderful.

There were riots; music expressed the joy of music. We were on a mission to spread music to people - all people. And they taught us to stay in the pocket.

A lot of music doesn't have love, it's all mechanical. But not Motown. I remember the time James Jamerson legendary bassist who played on most Motown records took us to his home to feed us pork and beans and teach us how to sing chord changes and three-part harmonies so we could become part of a background sessions singing with Marvin Gaye.

Cleveland's role in breaking Motown acts: "Berry Gordy would break artists by having them play Leo's because he felt that if you could cut it there, you could make it at the Apollo.

He'd sent them to play Cleveland before they would go on tour and they would make the rounds in Cleveland. Hawkins, a tastemaker in urban radio, broke countless acts in the area by using the radio as a platform and would often roll his signature phrase, Iif you don't like this, you got a hole in your soul.

Leo's: "James Brown would take days off on a tour just so he could come the Leo's to hang out and see some music.

It was that happening. Leo's was also one of the top 'black-and-tan' clubs in the area, where you had integrated black and white audiences.

The roots of rock: "Rhythm and blues is the fabric of rock 'n' roll. Alan Freed helped popularized and Cleveland played a great roll in that with its music fans and clubs and musicians.

Leo's was the most popular, but there were a lot of clubs in the area. The entire area was happening. The Supremes.

We were so young, like 20 or I also remember it because it was where we worked with Flip Wilson. This is before he made it big and he was extremely filthy.

I remember Berry Gordy saying, 'You can't say all those dirty things because my girls are nice girls. America might have been segregated, but there were these iconic places like Leo's where people came together.

Leo's was part of that golden moment in time where music showed Americans what we had in common. The legacy : "Each generation brings change and unfortunate changes to cities.

But I look back at Leo's and remember it as a golden moment that left behind a great legacy. Not just in terms of playing there as some young girl with the Supremes.

Leo's showed that music is the great ambassador in bringing people together, no matter how divided we might see ourselves.

We were right there with the audience. We were happy to do the music without even being paid. We were just happy to sing -- that was a joy.

Cleveland musician who performed often at Leo's. Playing Leo's: "I never heard of any incident. It was all good until they had the riots.

Leo's wasn't super big, but you get an orchestra on the stage - people. There was a restaurant and a bar and they would give you a discount, but some groups like the Coasters would bring a bunch of girls in there and drink and party away the take from the shows.

Cleveland in the s: "Cleveland was on par with Chicago and Detroit because it could get an integrated audience.

The neighborhood really appreciated music - it was really something to think that you could hear all this music in the neighborhood and have people coming from all over the city to hear it.

It felt special to know that we were bringing people and they weren't not fighting and arguing. Hough Riots: "The riots changed things. There was a lot of anger going on and when that happened, people stated taking off and leaving the neighborhood and you had empty buildings popping up.

By the s and '80s, I couldn't even recognize the neighborhood I knew. Crack came in and it this area where people came all dressed up to hear music had turned into a war zone.

It all went together - you would go out and look good and it's a good time. The club had a small intimate atmosphere.

Every seat was a good seat and there was good sound and a stage that you could look out and see everybody and everybody could see you.

It was one of the top clubs in the country. They booked anybody that was anybody. It was one of the first clubs where blacks and whites came together and attracted people from the West Side.

It was on a main drag, on Euclid, so it wasn't too far from downtown. You could catch a bus there and they had parking on the street.

It had a bar outside of the room. You could bring teenagers in on Sundays. People went to shows there and you felt safe.

Leo and Jules were innovative - two white guys who knew how to bring in entertainment. They brought in stars - like the Miracles and Supremes - more than any other club.

Gleasons was one of the first clubs in the area, but it was from the old days. Leo's was part of a new era. Sly, Slick and the Wicked.

The Broadway of Cleveland: "Leo's sat in the middle of this culturally important area along Euclid Avenue that ran up to East th Street. In the s, the area had all these clubs like the Versailles, the Circle Ballroom and the El Dorado, and they brought people down and, in the case of Leo's, tore down racial barriers.

These places inspired people to play instruments and form bands and do shows and make records. Comedians usually opened the evening, and Leo's hosted some great ones, from Redd Foxx to Flip Wilson to Dick Gregory, who called it "the most integrated nightclub in America.

Reeves recalls feeling lucky to be in the audience the night Richard Pryor opened for Martha and the Vandellas.

But at the time, it just felt like something really spiritual was going on, and you could have riots in the streets, but we were all dancing in the streets.

Life of the neighborhood. Reeves remembers something very specific about Leo's -- its owner, Leo Frank. While Frank, who died in , is often credited for the club's pioneering role in bringing the races together in song, he was by no means a social activist.

He was all about the music. When the club burned down 10 years later, he took on a business partner, Jules Berger, and moved into the old Quad Hall Hotel.

When it opened in , Quad Hall was hailed as a Gothic masterpiece. By '62, it was just another faded hotel looking for a new lease on grandeur.

Patrons had to walk past a bar to get to Leo's, which boasted black walls, red carpets and white tables covered in white linen.

For decades, the broader area was considered Cleveland's Harlem - a culturally vibrant stretch that boasted nightclubs and vaudeville and movie theaters.

Gleason's was a forerunner to Leo's Casino in its pioneering bookings and appeal to white as well as black music fans - Alan Freed was a regular and recruited musicians -- but it also proved to be a cultural anchor and magnet for creativity in the neighborhood.

John Wilson points to these venues in much the same way contemporary urban planners have come to embrace creating entertainment districts to revive decaying downtowns in America.

They were also integral threads in the cultural fabric that spanned the city and attracted music fans such as Mike Funtash, who regularly went to Leo's to see Smokey Robinson, the Supremes and the Temptations.

A golden moment. The men came in suits and ties. Women donned mink stoles, new threads and hairdos. It was a night of cocktails, cigarettes and tuneful music.

Most of the acts were. Within a decade, performers such as Diana Ross were playing arenas. I realized that Leo's was a different era, before music became a big business -- back when you went to see groups in a club instead of squinting at some Jumbotron because they're on a stage so far away.

In many ways, Leo's was done in by the success of the stars it helped spawn. By the late s, most of the artists who had made the place so popular had moved on to those arenas and Jumbotrons.

The neighborhood, meanwhile, went in the other direction. Leo's closed in Leo Frank died in -- two weeks after the Rock Hall erected a plaque declaring it a landmark.

The site is home to an Aldi grocery store, a reminder that, indeed, those were different times, never to be repeated. But Leo's lives as more than merely a memory.

This is the first installment in an occasional series that looks at music venues that have played a role in Cleveland's cultural fabric and established it as an important music city.

Note to readers: if you purchase something through one of our affiliate links we may earn a commission. All rights reserved About Us.

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