The jazz piano of Bill Evans was characterized by grace and poise, a lightness of touch yielding a plaintive depth of feeling, that belied a life beset with chaos and tragedy. It would be easy for an Evans biopic to lean into the latter, as music biopics tend to do — turbulent biographical incident being forever more screenplay-ready than intangible creative ability and process. A far taller order is to convey the artist’s personal torment in the precise key of his own art, and it’s this trick that Grant Gee‘s nimble, restrained but quietly plangent “Everybody Digs Bill Evans” pulls off with considerable beauty and feeling.
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