Born in Tacoma, Washington, in 1942, Friesen’s formative years were those of military service, when, stationed in Germany, he took double bass lessons and had the opportunity to accompany Chet Baker and Eric Dolphy on their tours. Returning to the USA, he studied classical composition and jazz in Seattle. In 1965 he experienced a mystical revelation that inspired his musical career: he renounced Judaism and became a Christian.

The title of Color Pool is inspired by the harmonic idea that governs Friesen’s music: a palette of colors from which the artist selects a combination of "colors" each time (all against the backdrop of a Christian spirituality). It is the double bass alone, in his typical "pizzicato" and "staccato" style, that interprets the two most singable themes of the collection, rendered with crystalline "diction": You Make Me Smile and the title track. However, the album is primarily a proving ground for Friesen’s technique, which he explores in Duet and the ambitious Bass Quartet. Incidentally, his piano style mimics the double bass, but ends up sounding dissonant and harsh in the wild jams of Vineches and Tether.

From his very first album, Star Dance, Friesen showcased a predisposition for a warm-toned sound and, on his instrument, a subtle intelligence capable of imposing complex but lucid logics on the laziest of basses. Paul McCandless, John Stowell, and Steve Gadd helped him focus on the two fundamental modes of his art: the majestic impressionism of Winter's Fall and Clouds, and the humble folk of A Little Child's Poem and the title track.

Waterfall Rainbow (1977) applied these insights in airy and graceful compositions, making use of an exceptional orchestra: Ralph Towner on acoustic guitar, John Stowell on electric guitar, Paul McCandless on oboe, and Nick Brignola on flute. From the lively title track, worthy of the Rio carnival, to the overwhelming fanfare of Dancing Spirits Before The Lord, the album is a parade of exuberant and lush harmonies, culminating in the spectacular arrangement of the Middle Eastern-themed Spring Wind; and the two solos, French Festival and Song Of The Stars, hold their own alongside the liveliest "songs."

Friesen's first breakthrough came with the duets of Through The Listening Glass (July 1978), with John Stowell in the role of versatile accompanist. Echoes of world music and the mysticism of Don Cherry and Paul Horn penetrate the psalm of Wisdom's Star (in which Friesen plays the shakuhachi flute), the Carousel Parade (in which Frisell strikes the double bass to simulate frantic percussion), and the vertiginous tribalism of Ancient Kings. The optimistic and carefree moods of his early albums return instead in the title track, Autumn Ballet, and Wings Of Light.

Stowell again accompanies him in Other Mansions (November 1979), an album marking a return to the mystical climates of Listening Glass. Spirituality pervades the breakneck raga of Trilogy and the heartfelt prayer for solo double bass of All That Has Breath And Life. While the syncopated theme of the title track is yet another excuse to showcase his virtuosity, Friesen also discovers a more human and domestic register in Tomorrow's Dream.

Amalgamating all previous experiences into a solo album, Friesen arrives at what is perhaps his masterpiece: the solo Paths Beyond Tracing. On it, Friesen plays violin, double bass, and bamboo flute. Song In The Night, for solo double bass, is the passionate song of a free spirit who has found peace with himself. The agonizing chords of the Symphonies are nothing more than verses of an inner prayer. The two "blues," Shapes And Colors and Sword Of The Prophets, luxuriate in magical visions. The entire album is a concentration of intense sensations, viewing life from the perspective of a sage.

Storyteller (April 1981) concludes this first phase of Friesen’s career with a group sound (Stowell on guitars, McCandless on oboe and English horn, Tom Harrell on flugelhorn, Gary Hobbs on percussion). The moving anthems of Pathway and Dance Of Life and the idyllic impressionism of Spirit Lake and Clouds complete Friesen’s spiritual formation.

At this point, Friesen was drawn by Paul Horn and Steven Halpern onto the path of meditative music. With Amber Skies (January 1983), alongside Chick Corea, Paul Horn, and Airto Moreira, and Inner Voices (1988), his most mystical and intimate period begins, in which the artist approaches the modes and content of new age music. After Departure (July 1990), however, his activity became frenetic and somewhat scattered.

The duets with synthesist Jeff Johnson on More Mistletoe Magic (1985), with guitarist Uwe Kropinski on Departure (July 1990), with fellow bassist Glen Moore on Returning (April 1993), those with pianist Denny Zeitlin, the trios with pianist Randy Porter and drummer Alan Jones on 1,2,3, and many other collaborative albums make him the most prolific bassist in music history.

The most ambitious undertaking of this phase is the tetralogy of albums for ITM, culminating in the assorted duets of Two For The Show (August 1992) and the trios with Clark Terry and Bud Shank on Three To Get Ready (February 1994).

Friesen is a double bassist capable of playing like an entire rhythm section, with a density (even before speed) that is unmatched. His style is primarily energetic, volcanic, and effervescent.

Midnight Mood (Intuition, 2005), recorded in 2002, documents a piano trio.

The double-CD Connection (ITM, 2007) contains 15 duets with guitarist Larry Koonse (recorded in 2005) and several covers recorded in 2001 by a trio.

Circle of Three (2011) is a jovial collaboration with tenor saxophonist John Grass and pianist Greg Goebel.

Testimony (december 2018) documents David Friesen with orchestra and quartet. The bassist recorded in december 2018 ten pieces accompanied by National Academic Symphonic Band of Ukraine, plus six pieces recorded in october 2019 on which he led his quartet, comprising of Eugene Dobrovolskyi (vibraphone), Alex Fantaev (drums, percussion) and Mykola Ryshkov (tenor sax), whereas he played bass, piano and percussion. All pieces were composed by Friesen. Previously, let’s remember, the same label released other two Friesen’s works: Structures, a 2CD set on which, on bass and piano, he led Joe Manis (sax) and Larry Koonse (guitar), who recorded (CD1) a march 2017 concert, from which were extracted ten tracks, and (CD2) nine studio pieces (february 2017); and another 2CD set, My Faith My Life, that collects (CD1) thirteen solo bass pieces, studio recorded in february 2017, and (CD2) sixteen solo gran piano pieces (july and august 2018).

Passage (february 2015 and february 2020) documents collaborations with pianist Bob Ravenscroft.

Day Of Rest (february 2020) David Friesen played bass and also piano on the solo album

Volume 1 of This Light Has No Darkness (february 2023) documents a 12-part one-hour composition performed with Paul Lees (piano), Charlie Doggett (drums) and a 33-piece chamber orchestra.

Friesen played piano and percussion on A Light Shining Through (Origin, 2024), recorded between 2019 and 2023, with Joe Manis (sax), Charlie Doggett (drums), Alex Fantaev (percussion) and the Kyiv Mozart String Quartet.