IMO there should be a balanced program for each practice session, in which you start by posing some restriction to yourself, and gradually loosen it.
For example, you first practice scales for several keys, and several figures transposed in several keys.
Then you play iReal Pro and play along, utilizing the figures you just practiced, whether consciously or not.
When you have "turned on", play some of the standard pieces from the Real Book and render solo passages as you see fit, without help of tracks.
At this point, you are likely to be good spirited and full of inspiration, and play freely and record.
Listening to what you played also helps.
You may think your improvisation to be "inferior" than great Jazz pianists, but you may not realize the deep reason.
Try to find that out, for whatever styles you are endorsing.
In the beginning, most likely you can't, since you have not developed taste sharp enough.
My advice is that, when learning everything, you must first be constrained in some way, and that, somehow paradoxically, helps your imagination.
You avoid the problem that you are "stuck" in the same level and repeating wrong or mediocre patterns, by adding some "external force" to drive you out.
When you force yourself use some figures, you learn new ways to exploit them.
When you are determined to play within some harmony progressions, you may incidentally find some progressions that you don't like before actually sound good, and so on.
And as you remove the restriction, you get more creative than before.
This too can be said of four-part harmony, counterpoint exercises, and probably other field of expertise as well, I guess, like mathematics, but I have been digressing.