More information from Neuzil and Lyons' (2006:20-21) report on the Mills Collection:

Roosevelt Red Ware, as originally defined, refers to a group of stylistically and technologically related types that includes Pinto Polychrome, Gila Polychrome, and Tonto Polychrome. However, later conceptions of this ware included types whose relationships to the initial three remain unclear. Some researchers have chosen to use the term "Salado polychromes," in order to avoid a reference to the Roosevelt Lake area, previously thought of as the center of Roosevelt Red Ware production. This is sound reasoning, as the results of numerous trace element and mineralogical sourcing studies strongly suggest that these types were produced in nearly every river valley in the Greater Southwest, south of the Hopi Mesas. 

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Roosevelt Red Ware vessels exhibit a brown paste and, most often, sand temper. The brown paste is usually covered by red and/or white slip. The interior surfaces of some types are smudged. Roosevelt Red Ware types and varieties are distinguished based on differences in "decorative configuration" and "decorative treatment."

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The two most common decorative configurations exhibited by Roosevelt Red Ware vessels are termed here "Gila" and "Tonto." The Gila configuration consists of black-on-white bowl interiors and wide bands of black-on-white decoration on the exteriors of jars. The Gila configuration involves the presence of red, but the relationship of red to white areas is always in terms of alternating zones. In contrast, the Tonto configuration is defined by interaction between red and white in both the horizontal and vertical planes. In the case of Roosevelt Red Ware bowls, there is a strong correlation between decorative configuration and vessel form. The Gila configuration is associated mainly with hemispherical and slightly incurved bowls, whereas recurved (also semi-flaring incurved and semi-flaring hemispherical) bowls are associated with a number of different configurations. The standard Roosevelt Red Ware decorative treatment is black paint on a white-slipped surface, but this can vary for specific types. For example, the Los Muertos decorative treatment, characteristic of Los Muertos Polychrome, involves the use of red paint alongside black paint on white-slipped areas. The decorative treatment associated with Cliff White-on-red is white paint on red slip. 

More information from C. Dean Wilson:

The combination of a black organic paint and cream and red slipped surfaces often resulted in a stunning visual effect. The fact that potters over such a wide area were able to employ the necessary well controlled firing regimen and locate suitable local clay resources was a considerable accomplishment, and indicates a great deal of pressure toward the widespread production of a distinct and uniform pottery. This may be further reflected by the lack of regionally specific styles or forms of Salado Polychrome (Crown 1994). Salado Polychrome types are differentiated on the basis of temporally sensitive differences in painted styles and the additional presence of decorations applied in a red slip. Salado polychromes are among the most widely distributed Southwestern decorated types, occurring over a vast territory that was earlier occupied by the Hohokam, Mogollon, and the Southwestern most Anasazi (Crown 1994; Lindsay and Jennings 1968; Wood 1987; Young 1967; 1982). Their placement here with earlier ceramic traditions associated with the Mogollon is a reflection that in New Mexico, they most commonly occur in sites in the Mogollon Highlands, and the importance of influences from Western Anasazi traditions and other regions are certainly recognized. The area occupied by groups making Salado Polychrome expanded through time, and all the Salado sites in Southwestern New Mexico are associated with later periods of the Salado.