Hi Ranjit, let's start with the good: I hear the polish of someone who has practiced improv for a long time. Your fingers fly easily through arpeggios, and the left hand is comfortable jumping around.
Improv is a personal experience, so you may think my ideas of how to approach improv aren't agreeable to you. That's totally fine and I respect that. So with that said, here are my suggestions, and I will not be offended if you disregard them completely.
Where I think most of your improv falls short is the brain-to-finger connection. If I asked you to play only the left hand and sing an improvised line, would your singing resemble anything similar to what you just played in the recording? Other than a few phrases that you repeat frequently, I think the answer is no, and that to me is a weakness. I want to hear a creative line from your head faithfully transferred to your fingers.
In your improv, what I hear is you trying to convey an emotion, but not a specific melodic line. It's a common problem with classical-to-jazz players and I've fallen into that trap in my early days. Because you know your fingers are capable of playing fast and dynamic, you focus on the fast-and-dynamic emotion and trust (hope?) your fast-and-dynamic fingers will do the rest. I suggest practicing a much simpler left hand and singing along as you play a much simpler right hand. This will develop 1) your ability to improvise phrases in your head, and 2) your ability to faithfully reproduce the phrase in your head to the keyboard. Don't worry if it sounds too simple or basic. I think clearly communicated ideas sound better than the sound of fast-and-dynamic scrambling.
Keep playing, I hear you getting better all the time!