Dreams can come true more than once. Melveen Leed has been known for many years for her quick wit and dual repertoire of Hawaiian and “Hawaiian Country” music, but her first love in music was jazz. A dream came true for Leed last month when she played a one-nighter at the Blue Note Hawaii.

The dream is coming true again this weekend when she returns to the Blue Note for a “hana hou” one-nighter.

“I’m so thrilled about that,” Leed said Monday, taking a call while she was packing for a short stay in Las Vegas. Her husband, Mike Reyes, was going to his high school class reunion. Who better to headline a Hawaiian party in Las Vegas than Leed? Case closed.

Leed returns to the Blue Note with an all-star band behind her. This time it’s Noel Okimoto (drums), Alika Lyman (acoustic bass), Benny Chong (ukulele) and Dan Del Negro (keyboards). Okimoto and Del Negro can play just about anything, and Chong — a founding member of the Aliis — has been enjoying a post-retirement career as a virtuoso of the ukulele.

“We had a four-hour rehearsal at my home,” Leed said. “It was wonderful. A good rehearsal, good songs and good solos. Everything’s going to be really super.”

Based on what Leed did in her late-set show at the Blue Note back in March, it certainly will be. She sang sweet and romantic (“Embraceable You”), swung and rocked (“You’re Nobody Till Somebody Loves You”) and slipped in some bossa nova, a little pop and a few hapa haole classics. Del Negro took a great solo on “Someone to Watch Over Me,” and Chong did excellent work on several numbers.

Leed is an engaging storyteller. On Saturday she might talk about Waikiki back in the 1960s and 1970s when she was one of the new kids on the scene, and Don Ho and Kui Lee were defining a new era in island music. Or maybe there’ll be a story or two about her experiences touring outside of Hawaii.

If there are entertainers in the audience, she’ll almost certainly call them up to sing, play an instrument or dance hula. Anyone visiting Hawaii for the first time will get a sense of how local folks party when music is involved.

The irony is that people who settled in Hawaii after the mid-1970s have almost certainly never seen Leed sing jazz here.

Only old-timers and local music history specialists will know that Leed sang jazz with bandleader Berne Hal-Mann in the Garden Bar at the Hilton Hawaiian Village in 1966. She was signed by Lehua Records, a local label, that same year. Her first album was “Melveen Leed at the Garden Bar,” but in the years that followed, the label took her in other directions.

Hawaiian and hapa haole music were natural choices for a local label. By the mid-1970s Lehua was taking her to Nashville to record.

“I was asked to go sing at the Grand Ol’ Opry (in Nashville), and when Patsy Cline’s producer — his name was Owen Bradley — when he heard my voice he wanted to record me,” Leed recalled. “(Lehua Records founder) Bob Clarke was the one responsible for taking me up there, him and (record producer) Bud Dant.”

Leed’s “Hawaiian Country” albums were commercially successful, and she had local hits with material ranging from “Kanaka Wai Wai” and a hapa haole medley, “E Ku‘u Morning Dew”/“Alone Once More” to “Melveen’s Letter,” a pidgin comedy piece.

Leed capped a successful Waikiki showroom career with a 12-year engagement at the Ala Moana Hotel and won the Na Hoku Hanohano Award for Female Vocalist of the Year five times between 1978 and 1987.

The closest she came to singing jazz in a regular engagement in Waikiki might have been during her double-bill engagement with Loyal Garner at the Polynesian Palace. Hearing Leed sing jazz classics during her solo segment in that show was a tantalizing glimpse of a musical road not taken — until she made her debut at the Blue Note.

“Jazz is my passion,” Leed said, picking up the story. “I love jazz, and I’ve been working with great musicians — the best of the best. When I go to Japan I do jazz shows, but people don’t know that here. I’m not in Waikiki very often, and I’m not doing jazz.”

“I had good teachers,” Leed continued. “I had Don Ho and Sterling Mossman and Sarah Vaughan — I hung out with her while she was here in Hawaii. They taught me how to entertain, how to move, how to talk to people.

“If it comes from the heart, it touches the heart,” she said. “You can quote me on that.”