Barry Harris (1929-2021) taught the following eight-note scales, which can be harmonised by two chords (and their inversions) only; the tonic chord and the second chord which is the leading-note diminished seventh chord.
C D Eb F G Ab A B, chords Cm6 and Bdim7 (minor sixth diminished scale, bebop melodic minor scale
C D E F G Ab A B, chords C6 and Bdim7 (major sixth diminished scale, bebop major scale)
C D E F Gb Ab Bb B, chords C7b5 and Bdim7 (seventh flat 5 diminished scale)
C D E F G Ab Bb B, chords C7 and Bdim7 (dominant seventh diminished scale)
C D Eb F Gb Ab A B, chords Cdim7 and Bdim7 (whole step/half-step diminished scale)
These scales have also another thing in common - they are made from whole tones and half tones only. In other words they do not contain augmented second, i.e. there is no "three-halfsteps-space" between the neighbour notes (as it is e.g. in the A harmonic minor seven-note scale between F and G#).
If we apply this "no augmented second" constraint to the selection process, there are five more eight-note scales made from whole tones and half tones only. They are again harmonised by two chords only, however the second one on the leading note is not the diminished seventh chord.
C D E F# G# A Bb B, chords C7#5 and Bm7
C D E F# G G# A B, chords C6 and Bm6
C D E F G A Bb B, chords C7 and Bm7b5 (bebop dominant scale)
C D E F# G A Bb B, chords C7 and Bm7
C D E F# G G# Bb B, chords C7 and Bm6