I agree about Bud Freeman (and what ought to have been his stature in the U.S., AFAICS ;)). But the European ones you mention did receive their fair share of recognition and admiration in the jazz circles of quite a few EUROPEAN countries with a thriving jazz audience, which is just about what you could reasonably expect for a major European jazzman around that time. LASTING jazz stardom in the U.S. at that time (not much later on among collectors) would have been out of reach for most Europeans anyway. (Yes I know about Lars Gullin and his impact on the U.S. scene for a while in the 50s, but what was his LASTING status, I wonder?) Maybe, but I suspect those European saxophonists got some amount of recognition mostly in their home countries.But beyond their borders? Another candidate from Europe who is rather unknown: Anders Lindskog, excellent tenorist with a fascinating tone. Listen to his "Fine together" and "Cry me a river", still available - wonderful music!