Born is Boston, Massachusetts in 1953, Robinson first studied classical percussion at the New England Conservatory. During the early 1970's he served his musical apprenticeship in the jazz world of Paris, studying with Kenny Clarke and playing with Alan Silva, Anthony Braxton, Oliver Lake and Bobby Few among many others. He first played with Spearman as a duet partner during this period in Paris, an association which continued through various configurations and many recordings until the saxophonist's death in 1998. He is a stalwart of the of San Francisco bay area avant-garde jazz scene, playing and recording with many of the area's improvisational players, from saxophonists John Tchicai, Marco Eneidi and Larry Ochs to koto player Miya Masaoka and pianist Matthew Goodheart, and with prominent visitors like Cecil Taylor, Wadada Leo Smith, George Lewis, trumpeter Raphe Malik and Canadian pianist Paul Plimley. Much of this work has featured the combination of Robinson and bassist Lisle Ellis as rhythm section. The following transcript focuses on performance and communication bound together in a relationship which matches the entire body with active perception. Within this bind, both the listener and the artist can (or need to) summarize his/her whole persona either into a single meaning or into the total and peculiar of the available senses, all through an ongoing exchange of fragmentation and re-composition, separation and global reassumption.

Improvisation, as a kind of unverbal automatic writing, is a kind of scission between the consciouness and the outburst, leaving the ‘deep yourself’ free to speak…
Improvisation is a form of simultaneous composition (a form that poets and rap artist also use). With good composers and artists it is not so much a question of there existing a magical phenomenon where the composer has no conscious intention or control, but a
conscious stream of relationships to expression and forms.
Almost all artists see themes and make commentary about these themes. The commentary and statements in improvisation can be expressed in many different forms not just through a musical instrument. I wouldn't say that there is a scission between the consciousness and “outburst.“
Sometimes the form of expression does come in the form of outburst. Some improvisation is very conscious. The artist makes very conscious reactions and expressions to situations, and states and conditions of life. Improvisation is most interesting when we can focus on a real dilemma or plight and then talk about it, and give vision and speak to the emotions of ourselves and others.
For example: John Coltrane when he plays North African themes and uses it as a direction for peaceful, warm, lyrical focus. Giving the listener a sense of calm, peace, strength and direction, and Béla Bartók, distilling a moment of thought and then taking this thought somewhere that has beauty.  
Outbursts are part of a statement, although I’m not sure that improvisation is “about” outbursts, but I would say that there is a freedom and an unbound, unleashed license to express, that is, to go beyond conventional forms when it seems appropriate. This requires that you have the freedom to express yourself, certainly.
To some it may appear that improvisation is a world where we only pull a nerve in the brain and unload free association without meaning or direction but it doesn’t really work that way. The associations and the ways of expressing these associations are what makes simultaneous composition have meaning. Otherwise it’s just noise without meaning. (Some people do need to just, sort of, eject and discharge which can sometimes carry a statement. But can become boring if that is the only comment.) 
There is also noise without meaning, but that noise ultimately makes a statement. Some want only chaos but this, in the end, also carries a statement. (sometimes the chaos contains vision and sometimes not) 
Ultimately we want our statements to have vision and meaning.

Improvisation as a kind of extra-territoriality on the other side or on this side of time and space, these (time and space) are necessarious/unavoidable coordinates for the rationality and for the physicality of the acustic event, but paradoxically they could be ‘broken’ by improvisation…
In that you seem to be asking if time and space can be broken by improvised music, I believe it can “break” the usual way in which we are used to perceiving time and space.
There is a pulling together of events using sounds or words or visuals. . . a juxtaposition of emotion as it connects to events, or juxtaposition of events (time and space) as it connects to emotion. Improvisers do allow themselves the territory of freedom of perception. We do go beyond what society allows us to perceive and express, generally speaking. We also may express what others do not have the words for. We have the ability to put their quandaries and perceptions into a setting where the listeners dilemmas can be spoken about and unraveled. Music is, by definition, is an expression of experience that cannot be articulated in words. Answers and vision in life can come from so many different places. Music can simultaneously access these places.

Now let’s consider the drums respect to the visual level: drums consists in different parts and can be played with different instruments – sticks, brushes…and in different ways and directions. There is a continuous  lights  reflections absorptions effects from lucidity to opaque. And also there are the shadows or shadow fragments effects and movements. And all this being a kind of movement on the place: so a continuous dialectic between movement and stasis…
You have to remember and consider that what the drummer does is not, generally speaking, visually premeditated. He is, for the most part, doing his job and hopefully what comes out audibly is what he intended but what comes out visually is only a by product. The stage and lighting can make what the drummer does look very physical, magnetic and appear to be a physical dance to the music that’s going on but it is usually not intended to appear that way. At the same time in stage music production they may want the drummer to appear as if he is being physical but that is usually just for the audience.

Can it happen to the drummer to feel himself in corporeal fragments? Each individual corporeal segment, separated respect to the whole body having to put himself on all the different parts of the instrument. And at the same time how the drummer can find again his own ‘global reassumption’?
Well, interesting question. One of the things all drummers practice is a thing called “independence”. Where he works on creating different musical patterns with different limbs. He practices this while keeping his body centered. He can then perform these different rhythmic patterns and then improvise some changes in these patterns. He sounds better if he knows from what pattern or idea he started from. Often the improvisations themselves have to be dissected into patterns that have been pre rehearsed. The biggest question is where, when and why you use certain patterns, ideas or improvisations. To me, all of this is part of what makes playing drums interesting.

Different parts of body, different limb. And voice. What is for a drummer the relationship with his voice and the breath, lips, mouth vibrations? 
Well, we all have to breathe while we live and perform. Sometimes we may do things that make us hold our breath while we perform (not that it is technically a good thing to do). Sometimes we may also sing the song we are playing or sing to ourselves the basic theme someone is improvising over while we also improvise. For drummers there are 2 worlds: there is the world of rhythm and percussion, and the world of what is happening melodically. What we do is apply rhythm to melody. . . the idea is that we understand there is usually a rhythmic component to any melody or at minimum a percussive component. We live in a world which contains both rhythm and melody. Our concentration, for the most part, is the percussive reality.

So the drummer perceives himself as a unique body? 
I would say, yes, that the drummer does perceive himself as a unique body, but this is not different than the other instruments who are also unique bodies in the sound, timbre and function they play in an ensemble or an orchestra.

Playing drums happens, also simultaneously, a continuous flowing, passing of different kinds of sounds, from a particular kind to other, a not univocal sound. And different kind of cymbals, of skins, and many different areas for percussion: so material of the instrument itself and perception, perception and connection material, emotion, transmission. A relationship between material-perception-emotion-sound emission-expressivity, and in relation with listening space…
There are many different kinds of drums. Cymbals. Percussion instruments: drum, tympani, piano, guitar, bass, marimba, xylophone. Are all technically considered percussion instruments. All have different material and “a relationship between material-perception-emotion-sound emission-expressivity”. Some of them have a very direct melodic ability, but nevertheless they are considered percussion instruments. This is to say that the different sounds in percussion are very broad, and that the ideas of what a percussionist can do can sometimes be limitless. Some percussion instruments have their limits, but with skill we can point the listeners’ ears in a direction that makes them hear and intuit other instruments and melodies. There are very interesting movements in drum set playing that allow the drummer to use the drumset in an unconventional way using different sticks, bells, electronics, the sides of the drum, odd sounding cymbals, etcetera. 
Milford Graves and Gino Robair among others, are drummers who have spent a lot of time in this area.