Rami Shuler was born on June 12, 1967, on Kibbutz Shamir in Israel's Upper Galilee panhandle. A musical talent showed early, and as a teenager he made the long trip from his kibbutz in the north to study percussion with some of the country's best teachers, among them Alon Bor, then head of the percussion section of the Israel Philharmonic Orchestra. Through the Israel Philharmonic's own youth orchestra and the kibbutz movement's youth ensemble he played timpani, xylophone, and other percussion, and performed several concerts alongside the Philharmonic's adult orchestra as a student. He completed his military service in the Israeli Air Force Orchestra (1985-1988), first as a xylophone and percussion player and later as an arranger, and received an America-Israel Cultural Foundation scholarship for performance and composition the same year he enlisted.

After his discharge he settled in Tel Aviv and began building a career as a session percussionist and composer, studying arrangement with Alex Weiss and Amikam Kimelman (1988-1990). In 1995 he went to New York to study composition at the Mannes School of Music under jazz pianist Phil Markowitz. That New York period produced the sessions behind his second album as a leader, Across The Ocean (1997, ABCD Music), a striking, personnel-rich record: Discogs' own track-by-track credits document trumpeter and flugelhornist Randy Brecker, saxophonist Bob Mintzer, saxophonist Dick Oatts, Markowitz himself on piano, bassist Jay Anderson, drummer Jeff Hirshfield, trumpeter Phil Grenadier, and Swedish vocalist Rigmor Gustafsson all appearing across its ten tracks. He had already led his recording debut a few years earlier, With One Breath (1992, NMC Music, credited to the Rami Shuler Group), tagged Jazz and Latin on Discogs and carrying an early, distinctly Brazilian-inflected streak ("A Little Bossa") that runs through much of his later writing.

Back in Israel, Shuler built a wide-ranging career as a multi-percussionist, composer, and bandleader: he leads and performs in ensembles working in jazz, Brazilian music, and his own original compositions, plays with the Tel Aviv Jazz Orchestra, and runs a private recording studio. His composing work spans well beyond the concert stage, including the score for director Tommy Lang's film Zug O Frad ("Odds or Evens," 2011), music for the animated shorts Doodle Baby (2008) and Baby Planet (2007), a children's and adult theater score for Sipurey Badim at Tel Aviv's Hataimon Theater (2013), and a dance score for Kolban Dance's Who Moved My Cheese (2010), alongside a large catalog of licensed production ("library") music in jazz, blues, bossa nova, and world styles distributed through outlets including TuneReel. He also performs explained, educational concerts for children and adults throughout Israel, plays in special-education and Akim frameworks, and volunteered a composed and arranged awareness song, "Yesh Lecha Oti" ("You Have Me," lyrics by Noam Horev), for a social-inclusion project.

He continued to release music as a leader through the 2000s and 2010s, including Clouds ("Ananim," 2001, credited to Rami Shuler and Friends) and a later self-titled album (2016), and appeared as a guest vibraphonist and percussionist on saxophonist Shlomi Goldenberg's Jazz Eclectico, recorded with Goldenberg's Little Big Band, and on the oud-and-electronics session No ID (2008), alongside oud player Gershon Waiserfirer. In 2012 the Israeli Ministry of Culture awarded him the Prime Minister's Prize for Composition in the field of jazz, for a five-movement suite titled "The Unforgotten Spirit" ("HaRuach HaBilti Nishkachat"), which Hebrew Wikipedia describes as recorded in New York with well-known jazz musicians, naming Brecker and Mintzer specifically among them, the same pool of New York players documented on Across The Ocean. In 2021 he published his first book, Being a Musician ("Lihyot Muzikai"), about life inside the Israeli music industry. He lives today in Modi'in with his wife Limor and their two children, Shiri and Gefen.

Shuler's own catalog centers on small-group, tune-based jazz built around the vibraphone and marimba rather than a horn or piano lead, carrying a consistent Latin and Brazilian undercurrent audible in song titles alone ("A Little Bossa," "Samba De Volta") and confirmed by Discogs' own Latin genre tagging on more than one of his releases. The New York sessions behind Across The Ocean placed him alongside mainstream, harmonically sophisticated American players, Phil Markowitz, Dick Oatts, Jay Anderson, and Jeff Hirshfield, plus the high-profile guest appearances of Randy Brecker and Bob Mintzer, and that mainstream, changes-based sensibility (rather than a free-jazz or fusion-heavy one) carries through his writing generally. His long parallel career composing for film, animation, theater, and dance, together with the mood and genre tags on his licensed production-music catalog ("Romantic/Sentimental," "Gentle/Light," "Breezy," "Lounge"), point to a melodic, warm, accessible compositional voice that serves image and narrative as comfortably as it serves the bandstand.