Born in Chicago in 1974 to musician parents, Eric Levy was exposed to a variety of musical styles at an early age, including jazz, classical, and down home Windy City gospel and blues, which helped to shape his wide musical range. His father was a well-known local jazz flautist, and a preeminent early programmer of synthesizer sounds. In fact, Eric programs all of his own patches, a result of his father's teachings. His mother is a church singer and a guitarist in her own right. From the beginning, his parents gave musical direction to Eric, often sacrificing luxury so that Eric (and his sister) could receive the best training and access to the best equipment.What better training could Eric have found than that of master musician Fareed Haque, who became Eric's professor and mentor when Eric left to attend the Music School at Northern Illinois University. Who could have predicted that teacher and disciple would, years later, be sharing stages around the countr y. Perhaps because Eric learned from a guitar virtuoso, his keyboard style has grown to resemble that of a guitar, his classical and jazz training translating seamlessly into his unique sound, with a percussive style reminiscent of John Medeski mixed with the wailing, almost guitar-god-esque keyboard sounds of Jan Hammer.

Told by his professors that 'you have nothing left to learn here,' he began his life as a working musician in the Chicago scene, performing with many local artists. Eric then departed for the high seas, and began a two year stint as the keyboard player on one of Premier Cruise Lines signature vessels. Returning to Chicago, Eric played with various groups including Galaxy (with Filter drummer Steve Gillis), the Fareed Haque Group, and the Blue Turtle Tea Party (which has recently received significant radio play on college radio stations), and other bands with styles ranging from straight-ahead jazz to Chicago blues, to funk 'n' groove. Entering the jam world with Garaj Mahal has opened up his playing trememdously, and he seems at times to be using far more than two hands with his notoriously eclectic melodic solos screaming, blisteringly fast, and deep in the groove.