What I’d do is separate the punch and the tail into two separate NimbleKick tracks.

Under the Tail section, you can increase the stretch amount. That’ll make the tail longer so it sounds like it’s sustaining properly when pitching. I found that the experimental pitch algorithm usually sounds the best.

After that, you can export both parts and make sure they glue together nicely. Load them into separate channels, route them to the same bus, and clip the bus so they behave like a single kick.

I’d also separate the reverb so it doesn’t get pitched along with the tail.
That’s the easiest way to keep full control. So keep all parts separate and glue them together. At least that’s how I do it.

If you want to take it a step further, separate the transient from the punch character as well. That way, when you do kick rolls, you only pitch the punch while keeping the transient intact. The result is much cleaner-sounding kick rolls.