Problem: Background: Richard Hirschfeld Williams (May 7, 1929 - July 7, 2011) was an American left fielder, third baseman, manager, coach and front office consultant in Major League Baseball. Known especially as a hard-driving, sharp-tongued manager from 1967 to 1969 and from 1971 to 1988, he led teams to three American League pennants, one National League pennant, and two World Series triumphs. He is one of seven managers to win pennants in both major leagues, and joined Bill McKechnie in becoming only the second manager to lead three franchises to the Series. He and Lou Piniella are the only managers in history to lead four teams to seasons of 90 or more wins.
Context: In 1977, he returned to Montreal as manager of the Expos, who had just come off 107 losses and a last-place finish in the NL East. Team president John McHale and general manager Jim Fanning had been impressed with Williams' efforts in Boston and Oakland, and thought he was what the Expos needed to finally become a winner.  After cajoling the Expos into improved, but below .500, performances in his first two seasons, Williams turned the 1979-80 Expos into pennant contenders. The team won over 90 games both years--the first winning seasons in franchise history. The 1979 unit won 95 games, the most that the franchise would win in Montreal. However, they finished second each time to the eventual World Champion (the Pittsburgh Pirates in 1979 and the Philadelphia Phillies in 1980). Williams was never afraid to give young players a chance to play, and his Expos teams were flush with young talent, including All-Stars such as outfielder Andre Dawson and catcher Gary Carter. With a solid core of young players and a fruitful farm system, the Expos seemed a lock to contend for a long time to come.  But Williams' hard edge alienated his players--especially his pitchers--and ultimately wore out his welcome. He labeled pitcher Steve Rogers a fraud with "king of the mountain syndrome" - meaning that Rogers had been a good pitcher on a bad team for so long that he was unable to "step up" when the team became good. Williams also lost confidence in closer Jeff Reardon, whom the Montreal front office had acquired in a much publicized trade with the Mets. When the 1981 Expos performed below expectations, Williams was fired during the pennant drive on September 7. With the arrival of his easy-going successor Jim Fanning, who restored Reardon to the closer's role, the inspired Expos made the playoffs for the only time in their 36-year history in Montreal. However, they fell in heartbreaking fashion to Rick Monday and the eventual World Champion Los Angeles Dodgers in a five-game NLCS.
Question: Why did he label him a fraud?
Answer: Rogers had been a good pitcher on a bad team for so long that he was unable to "step up" when the team became good.

Problem: Background: William John Evans ( , August 16, 1929 - September 15, 1980) was an American jazz pianist and composer who mostly worked in a trio setting. Evans' use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today. Born in Plainfield, New Jersey, in 1929, he was classically trained, and studied at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell.
Context: Evans' career began just before the rock explosion in the 1960s. During this decade, jazz was swept in a corner, and most new talents had few opportunities to gain recognition, especially in America. However, Evans believed he had been lucky to gain some exposure before this profound change in the music world, and never had problems finding employers and recording opportunities.  Evans never embraced new music movements; he kept his style intact. For example, he lamented watching Davis shift his style towards jazz fusion, and blamed the change on considerations of commerce. Evans commented "I would like to hear more of the consummate melodic master [Davis], but I feel that big business and his record company have had a corrupting influence on his material. The rock and pop thing certainly draws a wider audience. It happens more and more these days, that unqualified people with executive positions try to tell musicians what is good and what is bad music." However, Evans and Davis kept in touch throughout their lives.  While Evans considered himself an acoustic pianist, from the 1970 album From Left to Right on, he also released some material with Fender-Rhodes piano intermissions. However, unlike other jazz players (e.g. Herbie Hancock) he never fully embraced the new instrument, and invariably ended up returning to the acoustic sound. "I don't think too much about the electronic thing, except that it's kind of fun to have it as an alternate voice. (...) [It's] merely an alternate keyboard instrument, that offers a certain kind of sound that's appropriate sometimes. I find that it's a refreshing auxiliary to the piano--but I don't need it (...) I don't enjoy spending a lot of time with the electric piano. I play it for a period of time, then I quickly tire of it, and I want to get back to the acoustic piano." He commented that electronic music: "just doesn't attract me. I'm of a certain period, a certain evolution. I hear music differently. For me, comparing electric bass to acoustic bass is sacrilege."
Question: was he influences by any other genre?
Answer: Evans never embraced new music movements; he kept his style intact.

Problem: Background: Michael Kevin Taylor (born 17 January 1949) is an English musician, best known as a former member of John Mayall's Bluesbreakers (1966-69) and the Rolling Stones (1969-74). He has appeared on some of the Stones' classic albums including Let It Bleed, Sticky Fingers and Exile on Main St..
Context: After Brian Jones was removed from The Rolling Stones in June 1969, John Mayall recommended Taylor to Mick Jagger. Taylor believed he was being called in to be a session musician at his first studio session with the Rolling Stones. An impressed Jagger and Keith Richards invited Taylor back the following day to continue rehearsing and recording with the band. He overdubbed guitar on "Country Honk" and "Live With Me" for the album Let It Bleed, and on the single "Honky Tonk Women" released in the UK on 4 July 1969.  Taylor's onstage debut as a Rolling Stone, at the age of 20, was the free concert in Hyde Park, London on 5 July 1969. An estimated quarter of a million people attended for a show that turned into a tribute to Brian Jones, who had died two days before the concert.  The Rolling Stones' 1971 release Sticky Fingers included "Sway" and "Moonlight Mile" which Taylor and Jagger had completed in Richards' absence. At the time Jagger stated: "We made [tracks] with just Mick Taylor, which are very good and everyone loves, where Keith wasn't there for whatever reasons ... It's me and [Mick Taylor] playing off each other - another feeling completely, because he's following my vocal lines and then extemporizing on them during the solos." However, Taylor was only credited as co-author of one track, "Ventilator Blues", from the album Exile on Main St. (1972).  After the 1973 European tour, Richards's drug problems had worsened and began affecting the ability of the band to function as a whole. Between recording sessions, the band members were living in various countries and during this period Taylor appeared on Herbie Mann's London Underground (1974) and also appeared on Mann's album Reggae (1974).
Question: What happened after that?
Answer:
After the 1973 European tour, Richards's drug problems had worsened