Absolutely beautiful! Not to be redundant, I agree with everything positive that's been written above. So that leaves me with a few constructive-critique comments, LOL.
Regarding the vibrato, I think it's amazing that you can use the lack of it the way you do. I still think that just a little bit here or there would really sweeten things up without taking anything away from your approach. But the way you play without it is awesome.
There are really only two things that I would really suggest that you give some thought to and that is the use of more space in your soloing and the use of more tonal colour in your note choice.
I think your improvisational ideas would benefit if they were given a bit more breathing room; some more space for the listener to reflect on. You are a visual artist, so I don't really need to say much. Just think of your photos. Do you want to give your listeners the same listening experience as you give your photo's viewers the same visual experience in some of your more denser photos, or would you rather they have a more varied listening experience, as in your photos with more light and darkness and more varied hues and space? And, as you know, space is what calls attention to the other objects that are taking up that space.
Regarding your note choices in the improvisation, melodically, it's really beautiful. But after about 3/4 of the way through I'm getting a sameness to the tonal environment. In other words, I think you are playing too diatonically. Yes, you are using non-diatonic tones, but they are being used mainly as passing tones or as approach notes, all of those ways of using chromatics to land on diatonic tones. And when we are landing on diatonic tones, after a while it just takes on a sameness in the tonal pallet. So my recommendation would be to start finding ways of making the tonal atmosphere more varied.
Just so no one misunderstands, I'm not meaning to just start playing outside, but consider looking for ways to add more colour. You might even want to wait to do it until you are further into a solo to create a larger architecture to the form. For example, you could look for the "pretty notes". Maybe for you, the first category of them would be 9ths, and instead of passing through them, stay on them until they have some weight of their own. Find other pretty notes and hang on them. Weave a chord's extensions into its lower structure and then move on. Look for a substitute chord here and there (but use sparingly - this is not Scrapple from the Apple). There are ways of getting away from a basic diatonic tonality to make things more interesting without throwing the baby out with the wash. It wouldn't have to be much. Remember, in the words of a wise young lady - minimalism is good. :mrgreen: