Bert Jansch: Album reissues

BENEATH THE STAGGERED, quadruple-decker title of It Don’t Bother Me, midway down an album cover that suggests Blue Note going folk, sits Bert Jansch in 1966, head turned to the camera and away from the plural female company sitting slumped against the wall. A man who seems in silhouette even in daylight, Jansch is between dark periods: for his 1965 debut , Bert Jansch, his face was as baleful as Bill Wyman’s; later in ’66, on Jack Orion, the shot is so gloomy he looks like a precise negative of Bob Dylan.