If we listen to the other instruments we can learn alot. A violins pizzicato sounds the way it does because of how the violins sound trails off after plucking. This is a rapid rise in tone and a fairly rapid decay.
The portato is a short note without removing the bow from the string. This provides a more "rectangular" note shape with constant density from beginning to end - even when creating space between the notes.
When we listen to singers, we have also almost infinite variation from tut to tuuuuht as well as all of the other vowel possibilities.
There is a nasty tendency for the modern classical trumpet player to ignore short for the sake of making things "sound". There is a tendency for many to treat flow studies as gospel and connect everything. It is more secure to keep everything flowing, but music is dependent on artistic nuance and this requires advanced articulation.
A particularly interesting example is comparing Rafael Méndèz Hora Staccato with a real short staccato to Maurice Andrés version that I call Hora Legato. Wynton Marsalis is somewhere in between.
The truth is that we need it all and once we have it, it is beneficial to pay more attention to fine articulation wherever we may encounter it. Strings, Piano, Harpsichord are very fine examples to follow, then human voices. Generally I do not recommend emulating most trumpeters articulation.