Eden Ladin was born in New York and grew up in Tel Aviv, the son of the Israeli drummer Gil Ladin. He started on his father's instrument at four, moved to the piano at eight, and had settled on it as his main instrument by fourteen. His teachers in Israel were private ones rather than a conservatory faculty: Alec Katz, Amit Golan and Yafim Yoffe. An America-Israel Cultural Foundation scholarship took him to New York in 2008, where he enrolled as an undergraduate at The New School for Jazz and Contemporary Music. The list of people he studied with there reads like a cross-section of two generations of the music: George Cables, Reggie Workman, Billy Harper, Charles Tolliver, Kirk Nurock, William Parker, Jane Ira Bloom, Kevin Hays, Joanne Brackeen, Vijay Iyer, Ben Monder and Lee Konitz.

The first recording to carry his name came fast. Saxophonist Myron Walden put him in the piano chair of his band Momentum for Momentum Live, issued by Demi Sound Records on November 17, 2009, alongside trumpeter Darren Barrett and bassist Yasushi Nakamura; a four-disc sequel, Live: Our Sound, followed on November 5, 2013. In between, Ladin turned up on two records cut in New York studios in 2012 and 2013 that put him next to considerably older company. Wallace Roney used him on two tracks of Understanding (HighNote, recorded at the Samurai Hotel Recording Studio in Brooklyn on June 18 and July 5, 2012), splitting the piano chair with Victor Gould. Bassist Marcos Varela's San Ygnacio, taped September 30 and October 7, 2012 and released by Origin Records in 2016, gave him two tracks of a date whose regular pianist was George Cables and whose drummer was Billy Hart, with liner notes by Ron Carter. Trumpeter Philip Dizack's Single Soul, recorded at Systems Two in Brooklyn on January 29, 2013 for Criss Cross Jazz, was a full quintet date with Ben Wendel on tenor and Eric Harland on drums.

His own record took nine years of sideman work to arrive, and he paid for it in an unusual way: he told Jazz Speaks that a rent-stabilized apartment lawsuit he won, plus touring income from the bassist Avishai Cohen, funded the sessions. Yequm, whose title is the Hebrew word for universe, came out on October 6, 2017 on Contagious Music, the label run by saxophonist Dayna Stephens. Eleven Ladin originals, with Stephens on tenor and EWI across four tracks, John Ellis on tenor and soprano across five, Gilad Hekselman on guitar, Harish Raghavan on bass and Daniel Dor on drums, plus Camila Meza singing on "Dreams" and Yonatan Albalak playing guitar on one track. The sleeve, by the Berlin artist Rahel Süßkind, draws a separate world for each piece. He launched it at The Jazz Gallery in New York on September 27, 2017. The same year, guitarist Alex Goodman's Second Act (Lyte Records) billed Ladin on the cover for piano, Rhodes and Lowrey.

Then came the run of records that most listeners know him from. On Ari Hoenig's NY Standard (Fresh Sound New Talent, 2018), taped in September 2015, Ladin took two of the seven tracks in a piano chair shared with Shai Maestro and Tigran Hamasyan. That same year he joined Omer Avital's Qantar band, and it turned out to be the setting that used the widest part of him: on Qantar, cut at Brooklyn Recording on January 8 and 9, 2017 and released September 7, 2018, he is credited with piano, electric piano, synthesizer, clavinet and Hammond organ behind the two-tenor front line of Asaf Yuria and Alexander Levin, with Ofri Nehemya on drums. The band recorded again for New York Paradox, taped live in one room at Wilson Live in Brooklyn on April 21 and 22, 2019 with no headphones and no separation, and released February 28, 2020. Around those dates he also played on Yuria's debut PaPa WaWa (2018), Camila Meza and The Nectar Orchestra's Ámbar (Sony Masterworks, 2019) and bassist Alexander Claffy's Claffy II (2019).

The pandemic sent him back to Tel Aviv in early 2020 after thirteen years in New York, and the music that came out of that move sounds nothing like the Qantar records. First was On Hold, an unplanned late-night studio session with the Israeli instrumental trio Tatran, released by RTC Records on March 20, 2020; the band's own note says they had never played together before and had to use whatever instruments were lying around the room. Then came Mirage, his second album as a leader, released November 11, 2022 on La Reserve Records: analog synthesizers, vocoder, his own singing, and a progressive-rock rhythm section of Yonatan Levy on bass, Yonatan Albalak on guitar and Dan Mayo on drums, recorded at Ulpanei Studios by Roei Hermon and Yuval Garin. Since then he has moved back and forth between that world and straight-ahead work: two albums with Finnish bassist Kaisa Mäensivu's group Kaisa's Machine for Greenleaf Music, Taking Shape (July 7, 2023) and Moving Parts (March 14, 2025); two with German saxophonist Tobias Meinhart, The Painter (Sunnyside, 2021) and Sonic River (2025), where he plays pump organ as well as piano; a piano-and-synthesizer guest turn on saxophonist Hillai Govreen's Every Other Now (Fresh Sound New Talent, August 1, 2025); and the piano chair in David Broza's jazz quartet, assembled by Avital for the Red Sea Jazz Festival's winter edition in February 2024 and recorded at the Alhambra in Paris on November 14, 2024 for BROZAJAZZ: Paris Alhambra with Itamar Borochov on trumpet. He also appears on bassist Hamish Smith's leader debut Elsewhere Now (Ropeadope, October 24, 2025). He is back working the New York rooms: his trio with Desmond White on bass and Jimmy Macbride on drums played Mezzrow on December 26, 2025.

SmallsLIVE describes him as "a quiet force of harmonic complexity and lyricism," and the phrase survives contact with the records. What separates Ladin from the many capable pianists in his New York cohort is that he treats keyboards as a single expandable instrument rather than as piano plus effects: the Qantar sessions have him moving between acoustic piano, Rhodes, clavinet, Hammond organ and synthesizer inside the same tunes, and Mirage pushes the same instinct all the way into analog-synth and progressive-rock territory with his own vocoded singing on top. DownBeat's Carlo Wolff, reviewing Yequm in January 2018, wrote that the record "effortlessly fuses electronica and jazz" and singled out the Middle Eastern tonality in the writing; DownBeat elsewhere called his piano "deft and purposeful." His composing works from images rather than from harmonic exercises. "I see things in my head, stories and characters and feelings, even personal things," he told Jazz Speaks. "That's what inspires me to write." The training behind all of it is unusually broad for a player of his generation, running from Joanne Brackeen and Kevin Hays through Vijay Iyer and Lee Konitz to William Parker.