Room for a whisper: Diana Krall’s “No Moon at All” at SELekt

A duet with room to move

“No Moon at All” needs no crowded arrangement to create tension. The track credits place Diana Krall on voice and piano, John Clayton Jr. on double bass and Krall as arranger. The result is a close conversation: melody, pulse and support move between the two musicians without settling into fixed lead-and-accompaniment roles.¹²

HFI used the 5 May 2017 Verve release Turn Up the Quiet at 192 kHz/24-bit for this session. “No Moon at All,” written by Redd Evans and David Mann, appears as the ninth track.

Universal Music says Krall chose the repertoire, shaped the ensemble arrangements and brought together three bands for the album. On this track, that larger design narrows to voice, piano and a single double bass, leaving phrasing and reply to carry the intimacy.

From the Memory Player to the Kharma pair

The established playback chain began with a Laufer Teknik Memory Player MP-32 feeding an MSB Technology Cascade DAC. A Halcro Equinox preamplifier drove Halcro Eclipse mono power amplifiers and Kharma Enigma Veyron 4D loudspeakers.

At the power-amplifier end, Halcro says the Eclipse uses a redesigned input stage and several independently tracking power supplies.³

The duet from the sweet spot

HFI made the room recording at SELekt on 25 June 2026. The DPA-4011 pair was positioned precisely to capture the sweet-spot sound, with a laser distance meter used to set the microphones’ distance from the loudspeakers. They fed a Zoom F8n Pro at 192 kHz/32-bit float, and Sennheiser HD820 headphones were used during production.

That microphone position gives the video a clear point of view: the seat from which the system, room and performance meet. Begin at a comfortable headphone level. Rather than chasing a single spectacular moment, follow the space Krall leaves around a word, the way a piano note hands time to the bass, and the decay that lets the next phrase arrive unhurried.

Follow the hand-offs

On a first pass, stay with the vocal line and notice when the piano completes a thought instead of merely doubling it. On a second, give Clayton’s double bass your full attention: a note may anchor the harmony, answer a phrase or leave just enough room for the voice to lean forward.

Then return to the whole duet. “No Moon at All” is most rewarding when its quiet scale remains alive with exchange. Sit in the sweet spot with headphones, let the room settle around the two players, and decide which small gesture keeps drawing you back.