One of the things that annoys me is that there has been for some forty years or so a cadre of teachers who tell players that the way to articulate in jazz is to play long strings of eighth notes and tongue every other one, so you end up with doot-dah-doot-dah-doot-dah-doot-dah-doot over and over and over. They even call this the "Cannonball Adderley articulation" never mind that I have never heard Cannon play long strings of eighth notes like this - he played like the great player he was, with a wide range of articulations and constantly breaking up the rhythm.
I can always tell the young players who've been indoctrinated wtih this stuff; their articulation sounds like poop and their lines are all chopped up into two-note groups. Of course the doot-dah-doot-dah-doot pattern has its (occasional) uses and it's probably worth practicing it, but it is not "the way to tongue in jazz".
The truth is that when you're playing lines whether improvised or written, the tongue plays a host of different roles from staying the heck out of the way to lightly brushing to starting notes explosively to stopping them gently to stopping them harshly. Think of all the different things your tongue does when you're talking.
OP, I would suggest that in practicing, you work diligently on playing for minutes at a stretch with no tonguing whatsoever, and learn to construct lines and rhythms that work with no tonguing at all. With enough practice, these will become part of your working vocabulary just like the stuff that you feel is overtongued is part of it now.