Sergio Mendes modernizes the beat in 'Rio 2'

THE 1959 SAMBA-SCORED movie "Black Orpheus" was "the first big booster for Brazilian music on a global scale," remembers Sergio Mendes.

A few years later came the world-beating version of "The Girl From Ipanema" by Stan Getz and Astrud Gilberto, followed by "Mas Que Nada" - Mendes' breakthrough with his group Brasil '66, the first tune sung entirely in Portuguese to hit Billboard's pop chart.

Now - with help from fellow exports and noted U.S. ringers, Mendes is hoping to excite a new generation of music listeners with the exotic pleasures of buoyant, beat-driven Brazilian music - the sounds technicoloring the soundtrack for "Rio 2."

Mendes served as executive music producer and songwriter for the animated sequel - as he did the original, mega-hit "Rio" - working with the film's Rio-born film director Carlos Saldanha, composer John Powell and arranger Carlinhos Brown to "write and gather songs and talent."

And Mendes wouldn't "mind a bit," he added with a laugh, if the film and "Music from the Motion Picture" companion album "take off like 'Frozen,' " - the red-hot Disney animated musical that's been holding a No. 1 lock on album and home video sales/rentals.

To pump up the volume, "Rio 2" soundtrack contributor Janelle Monae has already performed her lead single "What is Love" on "American Idol" and the "Today" show. Bruno Mars' vocal contribution "Welcome Back" (he's also voice-acting in the flick) may also get special attention, clues Mendes.

Music is often the last element added to a movie. "But it was central to the creation of 'Rio 2' since day one," said the music producer with a mock groan. "I've given it three years of my life."

While frothier and less story-furthering than the Broadway-ish "Frozen" score, most "Rio 2" songs were written specifically for plot, character and atmosphere development, Mendes said. A remake of "I Will Survive" belted by Kristin Chenoweth's scary frog character with raps by Jemaine Clement is the obvious exception that breaks the rule.

South American-flavored even in the trumpeted Fox fanfare, "the film opens with a very musical New Year's Eve party on the beach in Rio - as there always is - and closes with a party in the rain forest," detailed the music producer. And there's bouncy/beautiful music playing almost continuously throughout the saga of rare, citified birds getting back to their family roots in the Amazon wilds, and saving the lush jungle domain from poachers.

The original, Carnaval-themed "Rio" cartoon went deep with Bossa Nova and Samba numbers. Maybe a little too mellow and old-school for kids today? The sequel's shift in locale allowed the music team to also explore more percussive/tribal-centric Brazilian styles - and slivers of hip-hop too (yeah, it's everywhere). At a recent preview screening, this livelier mash-up got lots of young'uns wiggling and jiggling in their seats.

Mendes' "personal fave" is a headbanger he created with Carlinhos Brown for a high flying soccer match between fowl feathered rivals. "For Brazilians, these games are the ultimate celebration."

While the score was recorded on Hollywood soundstages, the production team "brought in the big ensemble Barbatuques from Sao Paulo, who play body percussion," Mendes noted. "And Uakti. There are only four of them, but they arrived with 2,000 pounds of instruments, all of which they make themselves."

Mendes also gave soundtrack props to the wondrous Milton Nascimento - "maybe Brazil's greatest singer and also an amazing composer." This Nascimento fan agrees, and was seriously bummed when I couldn't detect his performance in the movie.

"It's playing under the dialogue as the birds boat down the Amazon River, though it's heard in full on the 'Music from the Motion Picture' album," tipped Mendes. (Not to be confused with the "Rio 2" original score album, a separate release.)

Nascimento also is guesting on Mendes' upcoming "Magic" long player, alongside younger singing/songwriting collaborators like Monae, Seu Jorge and John Legend.

"I'm hoping that album" (Mendes' first for Sony) "will also rekindle appreciation for Brazilian music in America," he concluded. "It could happen. In music, everything is cyclical."