Ab9b5 keeps the natural 9th of , but lowers its 5th to Ebb♭5: Ab, C, Ebb, Gb and Bb.
Keep the flat 5th audible. Ab9b5 is not with a flat 9th; the 9th is still natural.
Also written Ab9(b5), Ab9-5 or Ab9♭5.

Ab9b5 in 9th in bass puts Bb in the bass instead of Ab, the 9th of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
One of Ab9b5’s 8 shapes does this:x-13-12-11-13-x
Ab9b5 is a dominant with its tension raised, so it still points at — harder than a plain seventh does. A plain dominant has two voices a semitone from home; an altered one has four, because every altered tone is also sitting a semitone from a note of Db. More voices leaning the same way is all "more tension" means here.
Contains Ab9b5 and adds sharp fifth.
Adds fifth and thirteenth, for a dominant sharp-eleventh color.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.