"Groovin' High" is a 1945 jazz song by trumpeter and composer Dizzy Gillespie. The song was a bebop mainstay that became a jazz standard, one of Gillespie's best known hits, and according to Bebop: The Music and Its Players author Thomas Owens, it was "the first famous bebop recording".

It is a complex musical arrangement based on the chord structure of a 1920 standard originally recorded by Paul Whiteman, "Whispering", composed by Vincent Rose with lyrics by John Schonberger and Richard Coburn. The biography Dizzy characterizes the song as "a pleasant medium-tempo tune" that "demonstrates ... [Gillespie's] skill in fashioning interesting textures using only six instruments".

It has been used to title many compilation albums and also the 2001 biography Groovin' High: The Life of Dizzy Gillespie.

The song appeared on the debut 1947 album, Dizzy Gillespie and His All Stars and is one of eight tracks on that album that, according to jazz critic Scott Yanow, "shocked" Gillespie's contemporaries, contributing to the album "permanently [changing] ... jazz and (indirectly) the entire music world". In Jazz: A Regional Exploration, Yanow explained that at the time, such songs "were unprecedented ... displaying a radically different language" from contemporary swing. Although fans and fellow musicians found the material "very strange and difficult", The Sax & Brass Book notes that they were quickly adopted as classics. According to Yanow, "[Charlie] Parker and Gillespie's solos seemed to have little relation to the melody, but they were connected. It was a giant step forward for jazz."

Thomas Owens highlighted the innovative use of source material, pointing out that while it was not uncommon for jazz musicians to utilize existing chord structures in their compositions in 1945, Gillespie's "melodic contrafact was the most complex jazz melody superimposed on a pre-existing chordal scheme" and "atypically elaborate".

First performed on February 9, 1945, Gillespie reworked the arrangement for a February 28 performance to allow an improvisation by guitarist Remo Palmier, and it is this reworking that became so well known.

In the book Yardbird Suite, music historian Lawrence O. Koch sets forth in detail the structure of the song as performed on December 29, 1945, and preserved by Armed Forces Radio Service, from the two-bar unison figure by Gillespie and Charlie Parker that opens the song to the Gillespie coda at the end. Not having to conform to 78 rpm technology, Gillespie and his band were able to add several minutes to the song during that performance. Koch praised the "lovely, logical, melodic construction" of Parker's 16-bar solo as well as singling out performances by Gillespie, Slam Stewart, and Palmieri, as commendable. Noting that the coda "has become a jazz cliché, both in its melody and the chord pattern from which the melody was derived", he also drew attention to Gillespie's "prima donna breath control" on the final E-flat, with only a "slight loss in intonation" in spite of the difficulty of the phrase. The book Charlie Parker: His Music and Life describes this performance, along with the three other songs played in that session, as capturing "much of the vitality of the early Gillespie-Parker partnership".

Other notable performances of the song took place on September 29, 1947, when Parker and Gillespie reunited in concert at Carnegie Hall and during a 1956 tour sponsored by the US State Department. Owens describes the 1947 recording as among the finest of Parker's career. During the 1956 tour, Gillespie simultaneously performed "Groovin' High" and "Whispering" to demonstrate the way jazz musicians build on the bones of earlier compositions.