concertverslag: Beth Hart en Joe Bonamassa

http://www.muziek.nl/index.php?option=com_k2&view=item&id=22181 concertverslag: Beth Hart en Joe Bonamassa Geschreven door Sebastiaan Quekel concertverslag: Beth Hart en Joe Bonamassa "I'm like a fish out of water", zingt Beth Hart in swingnummer Can't Let You Go van countryrocker Randy Weeks. Niet veel later ligt ze in Carré op haar rug te spartelen als een stervende vis die naar water hunkert. Slechts één van de vele momenten waarin de Amerikaanse powerdiva laat zien dat ze een publiek vermaken kan. Samen met dé gitaargod van de 21e eeuw, Joe Bonamassa, de man die 'haar leven drastisch veranderde', staat ze in een bijna uitverkocht Carré om hun tweede duetalbum Seesaw te promoten. Nog niet eens twee jaar na het eerste gezamenlijke album zijn de twee boezemvrienden opnieuw samen te horen op een elpee die uit covers bestaat. Liedjes die vaak wel zeventig jaar oud zijn, zoals afsluiter Strange Fruit van Billie Holiday uit 1939. Een song die een treurig slotakkoord vormt van Seesaw, dat verder uitbundig en fleurig klinkt met blazers en toetsen, zoals Nutbush City Limits (Tina Turner) en Them There Eyes (Louis Armstrong). Die laatste refereert dankzij het indrukwekkende vibrato van Hart naar de hoogtijdagen van wijlen Amy Winehouse. Waar debuutplaat Don't Explain meer ingetogen was, zijn voor Seesaw juist overwegend opgewekte en levendige tracks gekozen. Dat zorgt voor een avond die aan de ene kant swingend en vrolijk is, en aan de andere kant calvinistisch en sober. De rolverdeling is in ieder geval duidelijk. Bonamassa blijft met zijn ingenieuze en vingervlug gitaarspel op de achtergrond, zodat alle aandacht naar Hart uit gaat. Met haar hoge rode hakken staat ze wonderbaarlijk geen seconde stil. Ze stuitert op en weer, schudt met haar lichaam alsof haar leven ervan af hangt en lijkt in sommige nummers ook écht gefrustreerd en boos. Onophoudelijk speelt ze met de camera (de show betreft een officiële concertregistratie) en springt ze het publiek in. Leuk detail: vanwege haar strakke zwarte jurk moet een beveiliger haar telkens helpen het podium op te krijgen. Alle blikken zijn op haar gericht, terwijl Bonamassa een meter achter haar de ene weerzinwekkende solo na de ander uit zijn gitaar perst. Zijn spel krijgt in tegenstelling tot zijn soloshows niet de overhand, maar toch krijgt hij de mondjes in Carré wagenwijd open. Het publiek wil overduidelijk meer Bonamassa. "Kom eens naar voren!", wordt er ergens geroepen. Gelukkig heeft dit geen gevolgen voor de muziek. Daar valt niets op aan te merken. De drie dansende trompettisten aan de rechterkant voegen met hun schetterende en funky blazers wat extra's toe aan de muziek. Het publiek - voornamelijk bestaande uit ouderen - herkent vrijwel iedere track, maar hoort wel dat het muzikale duo er een eigen draai aan geeft. Met Hart's rauwe stemtrillingen en Bonamassa's geraffineerde gitaarlijnen blazen ze de songs met succes nieuw leven in. "He changed my life. He is so freakin' good", aldus Hart over de bluesgitarist, die hierna zijn momentje krijgt om ook vocaal te laten zien wat-ie kan. In Someday After A While van Eric Clapton wisselt hij hoge, subtiele gitaarnoten - waarin iedere kuch of grinnik er in de heerlijk stille zaal tussenuit springt – af met snelle, zware grooves. De uiterst productieve gitaarheld zorgt voor een staande ovatie en verdient eigenlijk meer solotijd dan in dat ene nummertje. Goed dat hij hierna uit zijn schaduw stapt. In covers als If I Tell You I Love You (Blood, Sweat & Tears) en Miss Lady (Buddy Miles) zien we hem alsof-ie weer alleen in de Heineken Music Hall staat. Met I'd Rather Go Blind van Etta James kent de show een zinderende afsluiter, opgesierd met een fantastische solo van Bonamassa. Carré moet er een aantal minuten op wachten, maar dan kruipt het kippenvel ook bij velen over het lichaam. Al met al een bijzondere avond in Amsterdam. Luisteren naar jaren muziekgeschiedenis, volbracht door specialisten die hun vak tot in de puntjes beheersen. Volbracht door muzikanten die in de toekomst saampjes nog regelmatig zullen terugkomen om het werk van hun voorbeelden te spelen. Bekijk een fragment van de show onder deze recensie. Beth Hart en Joe Bonamassa: zaterdagavond 29 juni, Carré Amsterdam

Don Stevenson - Moby Grape

Moby Grape about the 60s, music and Janis Posted by Michalis Limnios BLUES @ GREECE on June 27, 2013 at 12:00pm View Blog . "The best advice I ever got was to only focus on the music, love what you are doing, and the success, and the money will take care of themself." Don Stevenson: Like old good wine Don Stevenson is the drummer and a singer and songwriter for Moby Grape, a band which was formed in San Francisco in 1966 and continues to perform occasionally today. Don Stevenson first obtained local recognition as a member of The Frantics, a band based in Seattle and including fellow Washingtonian Jerry Miller on guitar. The band relocated to San Francisco in 1966 and formed the nucleus of what became Moby Grape. Stevenson's position in Moby Grape was a drummer and a principal songwriter and lead singer. With Jerry Miller, Stevenson is the co-writer of three of Moby Grape's best known songs, "Hey Grandma" and "8:05", both from Moby Grape's self-titled first album (1967) and "Murder In My Heart for The Judge", from the Wow album (1968). The latter song was covered by both Three Dog Night and Lee Michaels, while Robert Plant covered "8:05" and The Move covered "Hey Grandma". He continued to write with Jerry Miller during the course of Moby Grape's four albums with Columbia Records (1967-1969). In later years, such as on Moby Grape's Legendary Grape album (1989) and beginning with 20 Granite Creek (1971), Stevenson contributed songs that were solely composed. Stevenson is the only member of Moby Grape to continue in music while at the same time developing occupational interests outside of music. In 2007, Stevenson appeared with Moby Grape at the 40th anniversary San Francisco "Summer of Love" reunion. In 2010, Stevenson performed with Jerry Miller and Omar Spence (son of deceased Moby Grape bandmate Skip Spence) at the South by Southwest festival. Stevenson shared lead vocals with Miller and performed a number of Moby Grape "classics", in addition to new material developed and recorded with Miller in 2009. In late 2010, his first solo album "Kings of the Fools" was released. Interview by Michael Limnios What experiences in your life make you a GOOD MUSICIANS and SONGWRITER? I started playing in high school the main reason was, I was getting my ass kicked playing football, so the other way to gain atenshion from the fairer sex was to play in a band, drums seemed doable,so that's a start. My high school band, the "Contanentals" became really good after four years of playing together at PTA dances. By the time I was 21, I was playing 6 nights a week and I did that for years. At one time I played at the "Roll In Taveren" on 5 th avenue in Seattle with the play boys till 1:00 am, packed up my drums an headed for The "Black and Tan" where I played with The Mike Mandel band till 5:00 am. We shared the stage with Jack Mc Duff, George Benson, Backed up Big Mama Thorton, Etta James, burlesque dancers welding giant pythons, and that was just the tip of the iceberg. For almost a year I didn't see the light of day. Such a great time, small bands playing everything from new arrangements of standerds, get down funky blues, shuffels that smoked (you hardly hear shuffles these days) original music, guest artist to back up, and really great serious musicians. The "Frantics"a very popular local band with a B3 organ, a sax, guitar, and drums, lost there drummer and asked me if I would like to join the band, they were playing a 6 night gig in Tacoma At The "High Hat" Tavern. This is when I met Jerry Miller an amazing guitar player, as a matter of fact the band was hot, and they offered me more money, so I took the gig. This all added up to at least ten years of intence musical experience and that laid the foundation for the future and gave me the confadence to play with almost anyone. "The 60’s have become a story people tell about the old days, I'm glad I was there but I don't live in the past." How do you describe Don Stevenson sound and progress and what characterize your music philosophy? As I get older my singing voice gets better, and I love to sing and play guitar, so my sound is still Very Moby Grape. My music philosophy is there are only two kinds of music: the good and not good, I always try to represent the good stuff. From whom have you have learned the most secrets about music? What is the best advice ever given you? I learned the most about music by practicing, practising, because there were many guys that had more natural talent, so working harder then the next guy is my secret. The best advice I ever got was to only focus on the music, love what you are doing, and the success, and the money will take care of themself. Which was the best and worst moment of your career? Which is the most interesting period in your life? The worst was when my tight pants split open at the Fillmore East while taking a big bow. My favorite gig was playing on the bill with Janis, The Staple Singers, and The Chambers Brothers. Vanilla Fudge, in Philadelphia, there were like 20 thousand people, and we played a perfect set, the crowed when crazy. Later we Jamed four a couple hours with Pop Staples, Mavis Staples, Janis, and some other musicians backstage I wanted that to go on forever. Are there any memories from recording time and jams which you’d like to share with us? Recording with the CBS Staff band! Basic I got today with the Johnny Carson Big band and was way over the top, I got to push that train, a shuffle going a thousand miles per hour called "can't be so bad" and the I got to sing it, go check it out and you will see why I will never forget that experence. I also remember Skippy asking Arther Godfrey to come over and do a full blown introduction to “I would love to love you" two different cultures haveing a good laugh together. You have come to known great musicians. Which meetings have been the biggest experiences for you? Meeting Mose Allison Which memory from Moby Grape makes you smile? Living in Malibu with the band in a beach house. Are there any memories from Moby Jam with Al Kooper and Mike Bloomfield which you’d like to share with us? We were in New York at the Columbia studios they showed up and we started playing, the interesting part is for most of the time we didn't know we were being recorded. Do you remember anything funny or interesting from the Monterey Pop Festival 1967? We were on the charts with our first albumn, a hot band,and because our manager got into a pissing contest with the promoters , we got slotted into the opening act spot on Friday night, lost in the shuffle, our Rocken set never saw the light of day, changed the coures of Moby Grape history. When we talk about Blues Rock usually refer moments of the past. Do you believe in the existence of real ROCK nowadays? Sure there are some great bands out there the Avett brothers are a good example of music I like today. What are you miss most nowadays from the 60s? How has the music changed over the years? The 60’s have become a story people tell about the old days, I'm glad I was there but I don't live in the past. And like I said earlier music hasn’t changed at all there is good music and music that is not good, I get to decide. Why did you think that Psychedelic culture continues to generate such a devoted following? Drugs Which things do you prefer to do in your free time? What turns you on? Happiness is… I love to play and sing I take acting lessons, so when someone needs an actor I'll be ready, I hang out with my beautiful wife Janis; love my kids, and grand kids. I live in abundance, have all the health I need, wealth I need, all the happiness I need, I live in Canada, and I’m a Canadian, but I still an American, who could ask for anything more.

concertverslag: Bruce Springsteen (23 juni 2013)

23 juni concertverslag: Bruce Springsteen Geschreven door Eline Dabekaussen concertverslag: Bruce Springsteen Op zijn 63ste weet Bruce Springsteen nog altijd zijn fans te bezielen. In een volgepakt Goffertpark laat de Amerikaan met een energieke show in de stromende regen zien dat hij nog lang niet aan zijn pensioen toe is. Het concert met de E Street Band veroorzaakte zaterdag voor aanvang de nodige files op de toegangswegen richting Nijmegen, maar het wachten op de weg was niet voor niets: The Boss rockt bijna drie-en-een-half uur. De afgelopen twee keren dat hij samen met de E Street Band Nederland aandeed (2008, 2012), vormde Pinkpop in Landgraaf het podium. Dit keer worden de fans getrakteerd op een 'eigen' concert in Nijmegen. Stipt om half acht trapt Springsteen, zoals gewoonlijk gestoken in een donker overhemd met gilet, af met een solo-versie van The Ghost Of Tom Joad. Meteen is duidelijk dat de ster uit New Jersey zijn fans een bijzondere avond gaat bezorgen. Verrassend Met zijn repertoire valt eindeloos te variëren, maar zaterdag speelt Springsteen veel nummers die hij live minder vaak ten gehore brengt. Hij verrast het publiek onder meer met het verzoeknummer So Young and in Love. 'We're going to test the E Street Band', kondigt hij aan, om na enkele schoonheidsfoutjes te zeggen: 'They did pretty good.' Hoewel Springsteen Nederland bezoekt in het kader van de Wrecking Ball World Tour, speelt hij slechts drie nummers van zijn laatste album. Midden in de show kiest hij voor een volledige albumuitvoering van Darkness of the Edge of Town. 'We want to try something different', lichtte hij die keuze toe. Vervolgens krijgt hij met feestnummers als de dixielandversie van Pay Me My Money down, Shakled and Drawn en Waiting On A Sunny Day zelfs de bezoekers op de achterste rij aan het dansen. De verrassingen in de setlist worden afgewisseld met Springsteens vaste ingrediënten waarvan contact met het publiek nog steeds hoog op het lijstje staat. Zoals gewoonlijk liet hij een kind het refrein van Waiting On A Sunny Day zingen en zoekt hij een Nederlandse Courteney Cox tijdens Dancing in the Dark. Bovendien richt The Boss zich al na drie songs tot het publiek om verzoeknummers te spelen. Niet alleen het contact met het publiek, maar ook de interactie tussen de bandleden maakt de show een waar feest om naar te kijken. Zo lijkt Jake Clemons, die de onmogelijke taak heeft om de plek van zijn overleden oom Clarence Clemons in de E Street Band in te vullen, een stuk relaxter naast Springsteen op het podium te staan dan pakweg een jaar geleden. Emotioneel Hoewel het Springsteens tweede concert in Nederland is sinds de dood van saxofonist Clemons, was in ons land nog geen eerbetoon aan het overleden bandlid op de videoschermen te zien. Tijdens Tenth Avenue Freeze-Out dat een vast nummer in de Wrecking Ball Tour is, breekt Springsteen zijn regel om alleen live beelden van het concert uit te zenden door archiefbeelden van hem met de The Big Men en de in 2008 overleden pianist Danny Federici te tonen. Na een emotioneel moment kiest The Boss ervoor om met opzwepende nummers waaronder La Bamba/Twist en Shout! af te sluiten. Onder het motto 'It's not raining hard enough', weet een breed lachende Springsteen van geen ophouden. De Springsteenfans in Nijmegen lijken eveneens niet om het weer te malen. Na een extra lange versie van Shout! houdt Springsteen het na ruim drie uur en twintig minuten voor gezien. Hij sluit af met de bekende woorden: 'Ik hou van jullie. We love you, we'll be seeing you!' En als hij shows van dit niveau blijft geven, zien de 60.000 fans in het Goffertpark hem ook graag terugkomen. Bruce Springsteen en E Street Band: zaterdagavond 22 juni, Goffertpark, Nijmegen http://www.muziek.nl/index.php?option=com_k2&view=item&id=22165 Nu AD: http://www.ad.nl/ad/nl/1022/Celebs/article/detail/3463691/2013/06/22/Bruce-Springsteen-rockt-in-nat-Goffertpark.dhtml Bruce Springsteen (63) heeft zaterdagavond in een bijna uitverkocht Goffertpark een concert gegeven. Meer dan 60.000 fans woonden het concert van de Amerikaanse rockzanger bij.

© anp. Springsteen neemt aanvragen voor verzoeknummers aan. © anp. Het optreden was in het kader van zijn Wrecking Ball World Tour. Rond 16.00 uur stonden een hoop fans op de A73 en de A325 nog in de file richting Nijmegen. Enkele fans misten zo het voorprogramma van The Black Crowes, maar waren op tijd voor het eerste nummer van Springsteen. De Wrecking Ball World Tour, die aan het zeventiende studioalbum van The Boss is gekoppeld, is de eerste tournee zonder Clarence Clemons. De saxofonist stierf in juni 2011 aan de gevolgen van een hartaanval.

Neil Young & Crazy Horse: London O2 Arena, June 17, 2013 (just like Ziggo Dome Amsterdam)

Wild Mercury Sound Neil Young & Crazy Horse: London O2 Arena, June 17, 2013 Neil Young & Crazy Horse: London O2 Arena, June 17, 2013 John Mulvey If, at this late date, you still need proof Neil Young is not a man to be trusted, something akin to that arrives about two and a quarter hours into his show at London’s O2 Arena. By this point, Young has managed a grand total of 15 songs, mostly in the resilient company of Crazy Horse, and is making his first extended address to the crowd. “Frankly, a lot of times tonight we kinda sucked,” he says. “But, with what we do, that happens.” One can understand the second part of Young’s statement: controlling such wild and capricious electric music is a necessarily tricky business. But what, bewilderingly, constitutes a non-sucking show for Neil Young? It is hard to recall, from my limited experience, one of his shows that has been simultaneously so ominous, joyful, ambitious and – a real shock, this, considering the unsteady reputation of Crazy Horse – tight. Perhaps a good night for Young resembles the prickly evening he spent in Newcastle last week, enjoying a faintly adversarial relationship with some sections of the crowd? Or the reception accorded “Walk Like A Giant” on Saturday, when substantial portions of the Dublin audience reportedly fed their boos into the song’s cacophonous end section? Perhaps the generally delighted response that “Walk Like A Giant” receives here – after 15 minutes of whistled refrains, exploded verses and grandly tumescent solos, then ten more minutes of brute shaped feedback – riles the staunchly contrarian Young. It’s possible, though, that a reasonable percentage of the crowd are a little schooled in the noise-rock that Young to some degree inspired, but at least affects to be mostly ignorant of (in the phenomenally unreliable “Waging Heavy Peace”, remember, he claims implausible kinship with Mumford & Sons, remember). So “Walk Like A Giant”’s coda fleetingly recalls My Bloody Valentine’s “Holocaust” jam on “You Made Me Realise”, but soon enough moves on to a less intense, more abstracted place; closer, maybe, to the dissonant drift found in some extended pieces like “Expressway To Yr Skull” and “The Diamond Sea” by Young’s one-time touring partners, Sonic Youth. Crumpled balls of paper are blown across the stage like tumbleweed. Rain falls and lightning crackles on the PA (at least in part sampled from the Woodstock movie: “Please keep away from the towers!”), in sync with the feedback. There is a sense that Crazy Horse are huge and elemental, transcending their barn-band notoriety. Much of these Alchemy tour shows, fitting for the arenas they’re played out in, seem predicated on an idea of music as a force of nature, describing and confronting environmental catastrophe. On “Like A Hurricane”, Frank ‘Poncho’ Sampedro plays an organ suspended on wires, rocking back and forth as if buffeted by the song’s lyric. One of two unreleased songs, “Hole In The Sky”, makes the ecological theme explicit, as the calm after the storm of “Walk Like A Giant”. “Hole In The Sky” acts as a prelude to Young’s acoustic set, mostly solo apart from a little harmony from Ralph Molina and some backup acoustic from Poncho when Young switches to piano on “Singer Without A Song”. There’s a “Harvest” feel to that last new song, which conceivably signals which direction Young may move in for his next album (that it’s been eight years since “Prairie Wind” suggests that facet of his music is due to be revisited). Even on “Comes A Time”, a portentous “Blowin’ In The Wind” and an exceptionally lovely “Red Sun”, however, he stalks the stage with his guitar, harmonica and radio mic, rarely facing up to the audience, seemingly engaged in face-offs with an array of ghost accompanists. When those duelling partners are flesh and blood – Sampedro and Billy Talbot – there are long sections when Young seems pointedly oblivious of the 20,000 people watching his every move. The show begins with theatrics: scurrying scientists and technicians (one wonders if Elliot Roberts runs an internship programme for mature jobseekers who want to join the sprawling crew), The Beatles’ “A Day In The Life”, and a po-faced standing to attention for “God Save The Queen” (better understood as a typically daft whim rather than anything profound). But as the Union Jack drops and the Crazy Horse flag takes precedence, a less obvious stagecraft takes over. Young begins “Love And Only Love” in a stomping head-to-head communion with his bandmates, in a rut that he will stay close to for much of the next two-and-a-half hours. The giant fake amps appear to be contributing spectacle and scale, but actually they serve to shrink the stage, keeping Crazy Horse in tight proximity to one another. This is big music made by small and fallible human beings, is the apparent subtext, even though they aspire to walk like – and often, miraculously, sound like – giants. Although there are hits, after a fashion, in tonight’s set – relatively concise readings of “Powderfinger” and “Cinnamon Girl”, an unusually menacing “Mr Soul”, a first encore of “Like A Hurricane”, shredding and another electrical storm for “Hey Hey, My My” – Young’s focus is on the critical longueurs. For all the monolithic lurch and taste for feedback, there’s a tenderness and aesthetic prettiness to Young’s performance that’s not acknowledged as much as it deserves. He sings beautifully, for a start, high and strong, whether it be finishing off “Blowin’ In The Wind” a capella, or harmonising with a startlingly drilled Crazy Horse between powerchords at the end of that momentous “Love And Only Love”. Before “Walk Like A Giant” devolves into its clangorous finale (as extreme as anything on “Arc Weld”, if not more so) with Young manhandling an FX box inside one of the fake amps, he makes an eloquent further case for the song as a new classic in his repertoire. “Psychedelic Pill” remains less potent, even if familiarity and roadwork have given it more gonzoid charm. In one of the usual multitude of baffling decisions, Young appears to be playing “Psychedelic Pill” every night and never going anywhere near a much stronger song from last year’s album, “She’s Always Dancing”. The real “Psychedelic Pill”-era keeper, though, feels like “Ramada Inn”, in which Crazy Horse’s strength is turned in on itself, so that the heaviness adds depth and detail to the fragile narrative, instead of overpowering it. The delicacy is remarkable, and it’s frustrating to think that such a fine song might well be retired after this tour: the fate of so many latterday stand-outs by Young – what chance of “No Hidden Path” returning, a highlight last time I saw him play, in 2008? On Saturday night, Bruce Springsteen played across the city at Wembley, took requests, dug spontaneously into neglected pockets of his career, and rolled out “Darkness On The Edge Of Town” in its entirety on an apparent whim. In contrast, Young works methodically within the fixed parameters of each project. For Alchemy in Europe, his dress code appears to be a rigorous all-black, from hat to workboot (Poncho, meanwhile, appears to be sleeping in a Hendrix t-shirt with the sleeves ripped off), and his setlist is, if not immutable, then fairly predictable. Ten of tonight’s 17 songs have figured at all of the recent UK shows, and only one – that unexpected “Red Sun”, from 2000’s “Silver And Gold” – is unique to the O2 performance. With Young, the spontaneity comes within the songs, as he wrestles with their enduring possibilities, night after night. At the moment, “Fuckin’ Up” seems key to understanding where he’s at: tempestuous at first, a fraught melodic rush, before it devolves into a gurning, camp and, to be honest, slightly over-extended vamp with Poncho. Laughing uncharacteristically, it’s here that Young most vigorously asserts his persona for the current project – the goofy guy fucking around with his old, long-suffering, kind-of friends. Whether we choose to swallow it is besides the point; the spectacle is ridiculous, but thrilling (and weirdly reminiscent of “Whole Lotta Rosie”, when the crowd wade in, too). At the end of Los Lobos’ excellent support set, David Hidalgo dedicates a song to Danny Whitten and then begins to play something that sounds audaciously like “Everybody Knows This Is Nowhere”, but actually turns out to be a site-specific, Horse-style rereading of “La Bamba”. Three hours later, Young finishes up a gorgeously cranky “Roll Another Number”, baits the management with some rhetoric about fines and curfews, and lunges into “Everybody Knows This Is Nowhere” itself. Worth noting, finally, that Crazy Horse play Liverpool Echo Arena on August 18, then are back here at the O2 on August 19. Tickets are still available. Follow me on Twitter: www.twitter.com/JohnRMulvey Some previous things I’ve written about Neil Young in the past few years… Americana Horse Back Psychedelic Pill Le Noise Chrome Dreams II Live at Hammersmith Apollo, 2008 Fork In The Road Setlist 1. Love And Only Love 2. Powderfinger 3. Psychedelic Pill 4. Walk Like A Giant 5. Hole In The Sky 6. Red Sun 7. Comes A Time 8. Blowin' In The Wind 9. Singer Without A Song 10. Ramada Inn 11. Cinnamon Girl 12. Fuckin' Up 13. Mr. Soul 14. My My, Hey Hey (Out of the Blue) Encore: 15. Like A Hurricane 16. Roll Another Number (For the Road) 17. Everybody Knows This Is Nowhere Picture credit: Brian Rasic/Rex Features John Mulvey Read more at http://www.uncut.co.uk/blog/wild-mercury-sound/neil-young-crazy-horse-london-o2-arena-june-17-2013#Edp8somQKrW8KBaE.99