input: In 15 major league seasons, Thompson compiled a .331 batting average with 1,988 hits, 343 doubles, 161 triples, 126 home runs, 1,305 RBIs, and 232 stolen bases. He was inducted into the Baseball Hall of Fame in 1974. Thompson was one of the most prolific run producers in baseball history. His career RBI to games played ratio of .923 (1,305 RBIs in 1,410 games) remains the highest in major league history, higher even than Lou Gehrig (.921), Hank Greenberg (.915), Joe DiMaggio (.885), and Babe Ruth (.884). In 1895, Thompson averaged 1.44 RBIs per game (147 RBIs in 102 games), still a major league record. His 166 RBIs in 1887 (in only 127 games) was 62 more than anyone else in the league that year, and it stood as the major league record until 1921 when Babe Ruth collected 168 (albeit in 152 games). Thompson still holds the major league record for most RBIs in a single month with 61 in August 1894 while playing for the Phillies. Thompson was also one of the best power hitters of the era before Babe Ruth. At the end of the 19th century, Thompson's 126 career home runs ranked second only to Roger Connor. Defensively, Thompson still ranks among the all-time major league leaders with 61 double plays from the outfield (16th all time) and 283 outfield assists (12th all time). Thompson has also been credited by baseball historians with perfecting "the art of throwing the ball to the plate on one bounce, which catchers found easier to handle than the usual throw on the fly." Bill Watkins, who managed Thompson in Detroit, recalled: "He was a fine fielder and had a cannon arm and will live in my memory as the greatest natural hitter of all time." In a 1913 story on Thompson, Detroit sports writer Maclean Kennedy noted that Thompson's drives "were the direct cause of more hats being smashed, more backs that were thumped til they were black and blue by some wild-eyed fan sitting in the seat behind, more outbursts of frenzied shrieks and howls of glee, than those of any other player who ever wore a Detroit uniform", barring only the two great stars of the day, Ty Cobb and Sam Crawford.

Answer this question "Did he receive any recognition for this?"
output: recalled: "He was a fine fielder and had a cannon arm and will live in my memory as the greatest natural hitter of all time."

Question: 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.

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."

Using a quote from the above article, answer the following question: How was he influenced by this?
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Answer:
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.