I think the explanation rather simple: Links have large chambers, typically. Also typically, Meyers have medium chambers. I say typically because you CAN order a large chamber Meyer, but it's not the same style or design as a Link and, by default the Meyers you order online or purchase at the stores are going to have medium chambers unless you specify otherwise.
In order for a medium chamber mouthpiece to work on tenor, the baffle has to be just right. I feel like the only person that gets this right is Ralph Morgan with his "Excalibur" mouthpieces. I've played a few other medium-chamber HR tenor pieces and they don't seem to work, stuffy as all hell. Mostly though it's that tenor players just tend to prefer larger chambers. I know I do! They achieve a deeper, louder sound when pushed and the extreme registers are a lot more satisfying. There is also more room for error and experimentation with baffles in a large chamber on tenor; I really don't know why this is true but I've played many many tenor mouthpieces and this is the trend I notice.
I played a Meyer 6M on tenor for two or three years in high school. I really had to work extra hard to get a decent sound out of that mouthpiece but I feel like it paid off. When I played my first Link my sound was tremendous after pushing so much air through that little pea-hole for those few years! I still have that mouthpiece and when I get curious or antsy I sometimes stick it on and play. The same thing always happens: I can't believe how stuffy it is or how I ever got a decent sound out of it. I think the La Voz reeds I was using had enough edge to cut through it a bit and produce a tone suitable for jazz...
So anyway, that's why I think Meyers are not popular on tenor. The Meyer design seems really to favor the alto, probably why I've used one on alto for five years with no problems...