Marlena Shaw at the Aotea Centre

Marlena Shaw revels in funk.

Stars glittered behind the NZSO on Saturday night for the orchestra's glamour event of the season, the BMW Finale concert featuring American singer Marlena Shaw.Nathan Haines threaded soulful sax through Russ Garcia's virtuoso arrangement of All the Things You Are, the perfect introduction to the real star of the evening.

Marlena Shaw's first two standards were nonchalant, perhaps even a little nervous.

But the occasional banter of scat, and subtle twist of line, spelled class.

Go Away, Little Boy was the first hit, and Shaw's introductory rap was delivered with the timing of a seasoned stand-up comic.

The orchestra, ably conducted by Hamish McKeich, moved smoothly around her, and when it came to Haines' own Squire for Hire, those brass riffs could have sliced through granite.

Shaw is versatile. She's the hippest chick on the block for this number, but can just as easily catch the poignancy of Dinah Washington for Body and Soul. She revelled in the funk of California Soul and brought gospel fervour to I Wish I Knew.

Only one number disappointed - Feel like Makin' Love was dull songcraft and seemed more so without Shaw's customary sass to leaven it.

The highlight came when five-piece band and singer took on Look At Me Look At You, working from Ron Samsom's feverish drums to a triumphant ballad of empowerment.

What a band. Nathan Haines was all sleek elegance on flute and soprano sax; Kevin Fields' keyboard dexterity knew no style barriers; Nick Tipping's bass was the funkiest of bottom lines; and, in the middle of an unbridled Mercy, Mercy, Mercy, the liquid tones of Joel Haines' guitar were an oasis of cool.

Keen eyes may have noticed the arrangement of Mercy was credited to Wellington composer Michael Norris; and keen ears might have heard, between those elemental riffs, all kinds of unexpected details, beautifully handled by players such as clarinettist Patrick Barry.

But the evening belonged to Shaw. She closed with a frank celebration of her dancefloor past, Touch Me in the Morning, which soared to disco heaven, and, true to its title, was still with me 12 hours later.