Some Cuban musicians referred to this late-80s sound as "salsa cubana", a term which for the first time, included Cuban music as a part of salsa. In the mid-1990s California-based Bembe Records released CDs by several Cuban bands, as part of their "salsa cubana series". Those bands included Manolito y su Trabuco, Orquesta Sublime, and Irakere which was nominated for a Grammy. Other North American labels such as Qbadic and Xenophile also released CDs by contemporary Cuban bands. It would seem at last that Cuban popular music could be marketed as salsa. In 1997, the film and CD Buena Vista Social Club, produced by Ry Cooder, was a big hit in the United States. America "discovered" Cuban music once again. However, for the most part, the music of the BVSC and its spin-offs was from the pre-mambo era. They do not play salsa. One exception was the BVSC spin-off, the Afro-Cuban All Stars. When touring the United States the All Stars performed arrangements that began very much like salsa tunes, but they would also employ breakdowns about halfway through the pieces. The Buena Vista Social Club and its spin-off groups did not exist in Cuba as working bands. They were put together for touring outside of Cuba. The bands that were playing in Havana had meanwhile been steadily evolving into something quite distinctly Cuban, and less like salsa. The Cuban jazz pianist Gonzalo Rubalcaba developed a technique of pattern and harmonic displacement in the 1980s, which was adopted into timba guajeos in the 1990s. The guajeo (shown above) for Issac Delgado's "La temática" (1997) demonstrates some of the innovations of timba piano. A series of repeated octaves invoke a characteristic metric ambiguity. Techniques like guajeo pattern displacement often make the music difficult for non-Cubans to dance to.